The former Transgressive / Heavenly Records act return with their fourth studio album in September on Alcopop! Records this year - and it's definitely their best yet, all raw-throat punk, stoner/doom psych, riffing swagger, and perhaps just the tiniest hint of delicious folk twinkling... Just get it in your ears. It's glorious.
After being sold out for almost a year, the classic album ’New Flesh’ by Swedish synth-wizards Priest at last gets a long awaited reissue! Here’s a short description that was stated during it’s original
release in 2017: ”New Flesh is inhaling smog from the 80s and blowing smoke rings into a neon lit future. Believing in spiritual awakening through technology, Priest makes you transcend safely to
reach the ultimate goal - the merging with machines. Album producer Simon Söderberg (Alpha/ ex Ghost member) have worked with the band to perfect their sound. There is modern touch with a retro vibe over the entire album. "New Flesh" containes a total of ten tracks that that brings 2017 back to the 80s.”
After the not-quite-reissue of 'Prince of Parrot Shooters/The Aqueducts of Cannel Island', wide-eyed mystic and tireless searcher of the netherworld Spencer Clark returns to the Discrepant fold with 'Barbados Wild Horses' under his Mo-nopoly Child Star Searchers moniker. Recorded while Clark was living in the Canary Island's by Tupperware and Lagoss' Dani Tupper, 'Barbados Wild Horses' brims with insular romanticism and escapist bliss, with sunkissed synth-lines interwoven around his trademark hand percussion bouncy rhythms reflecting the scenery of the islands as a lib-erating utopia.
With track titles taking an almost self explanatory stance, the album starts with the crepuscular vibes of 'Upper Roman-tico', a poetic meditation on the lovelorn potential of the fading sunlight, setting the tone for the rest of the tour. 'Lava Tube Solos on Horseback', the first of two tracks featuring Sun Araw's Cameron Stallones, sees the latter's guitar noo-dles riding the cascading rhythms and digital choir harmonies while in 'Neopreno Antiguo' he solos freely around an hypnotic synth line. Finishing off the escapade, 'Nightcharcos Punta Brava' drifts in ethereal starlit contemplation, with the percussion taking a more backseat approach, setting into a steady pulse for Clark's gliding synth tapestries. Nightswimming as transcendence. Another piece of the fascinating puzzle Clark's been assembling for over two dec-ades now, 'Barbados Wild Horses' glimmers with a laid back sensibility that's as unhinged as enveloping. Not an easy feat by any measure. Clark succeeds again.
Em Records Japan present a unique slice of late 70s/early 80s recordings from Brenda Ray; post-punk with a reggae influence, slathered with analogue dub and topped with sweet vocals. Ray was originally showcased on Em Records' release, Walatta. These much earlier Merseyside recordings are warm hearted, open, fresh and slyly experimental.
The thirteen tracks - originally released on vinyl and cassette by Ray and her musical friends under the monikers of Naffi/Naffi Sandwich - were recorded in a simple home-made studio. Naffi created a musical world of their own, though comparisons could be made to Young Marble Giants, Marine Girls and The Slits.
D'Ya Hear Me! is a wide-ranging release, with lovely vocal tracks, warm dubs and pleasingly odd instrumentals, all knitted together with a special trans-Atlantic rhythmic sense. Two songs of note to fans of Walatta are "Moonbeams" and "Everyday Just Another Dream", are earlier incarnations of "Starlight" and "Another Dream". Comes with rare photos and liner notes by Brenda Ray.
Raz started working on the album Tyrants in 2017 and
mixed the finished version in 2021. The writing process
began with listening to sketches and sound-files he
had collected throughout the past years, which he had
not yet given up on. The album is thus a natural
continuation of his previous works and showcases
Raz’s unique sound design coherently. His increased
focus into composition and arrangement is highlighted
even further in this release.
In the oblivious environment surrounding his hideaway
lake cabin he produced an album that is rich and
diverse in its sonic palette, ranging from harshly
distorted synth-peaks, cinematic soundscapes, all the
way to avant-garde contemporary classical, and jazz
music. It is an album that invites the listener to explore
and discover not just the intimate self: it is also a very
personal, intuitive observation and reflection on the
world that we are living in today.
Certain instruments are very prominent. An old piano
that was left in Raz’ apartment by a friend that he
found joy in playing.
One can hear a certain curiosity in
the performance of this newly found, dust layered
treasure (Bardot). Sonically the album is an attempt to
blend acoustic sound recordings with synthesized
sounds, and to blend musical genres into one. It is an
acoustic expression of the transformative times we are
living in, a realm of mankind being mastered by
technology.
The gap of this transformational process is
a glitchy moment of time. It is portrayed on the front
cover image of the album, by glitch artist Azamat
Akhmadbaev.
UNOS, a Belgian artist with roots in the Philippines, has long been a part of the Darker Than Wax family, repping the label in Europe and beyond for a number of years through her parties and DJ sets. As she begins to put her unique productions out into the world, we are pleased to give her first release a home on the label.
Borrowing its title from the exuberant Filipino dining tradition - a communal, bare-handed feast among friends and families - UNOS' debut EP Boodle Fight highlights her sincere love for communities forged through club culture. The release was conceptualised during her first Asia tour through Singapore, Bangkok, and Manila in 2019, where the artist became acutely aware of the crucial role that community plays in sustaining a culture. Shortly after these foundational travels, the pandemic threatened the lifeblood of this
culture, prompting her to draw on her feelings from the tour to maintain hope. With the release of the EP, UNOS revels in the return of togetherness to club culture after the pandemic - just like a musical boodle fight.
Boodle Fight ties together this celebration of community with a number of other influences and experiences in the artist’s life. First single ‘Angermanagement’ is a ballroom-inspired roller, focusing on contemporary voguing culture’s ability to translate anger into queer empowerment. ‘Powerslide’ is a piano-driven house cut that attempts to capture the energy of a legendary Darker Than Wax block party in Singapore in 2019, while the frenetic pace of ‘Headlock’ evokes imagery of a crowded club scene that the artist sorely missed in 2020. True to the spirit of a Boodle Fight, the bright chords and bouncy rhythms on ‘Flavourtown’ imagine the best aspects of an inclusive space where diversity is celebrated like a buffet. Closing out the record, ‘Loveletter to Summer’ reflects on the tropical warmth of her roots in the Philippines. Boodle Fight manages to pack in quite a few themes and inspirations, while still maintaining a polished consistency from front to back, and announces UNOS as a producer to watch.
Morning Glory
Every twenty four hours is a chance to begin again and it is a renewed commitment to be involved in the cycle of nature - to play by rules set forth by something greater than ourselves that constantly resonates in the ears of those who are at peace. At the edge of each one of these beginnings, there is a brief moment that belongs to only "it". A special portion of time that directly connects to the circular motion of Space and Time. It is truth before reality. Realness before rationality. Self before consciousness.
We can feel it when we first see light and the recognize an indication that the new day has begun. It is honoring what makes all this possible.
Axis Expressionist Series.
A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project as well as new unreleased works.
Vernacular creations that fall off from the "other side" of the Electronic Music tree, this project is designed for the experienced Techno music listener, and its goal is to reflect upon the pure artistry of the craft of storytelling. A realization between music and life.
Whereas "dancing" is the goal of Dance Music, the goal of this music is about "reflecting on the complexity and simplification of life". Soundtracks for people in their evolutionary process.
In its first release on vinyl, Art Imagination brings this 180-gram disc in transparent blue with four new tracks, three of them signed by the Brazilian Fabiano Pit and an incredible remix by the German Beatamines. The tracks have an organic sound and beautiful melodies.
The cover art is signed by the artist, Luis de Souza, in a painting in oil and acrylic on canvas
Ed Sheeran’s brand-new album Autumn Variations will be available for pre-order on the 24th August at 5pm before a worldwide release on the 29th September. It will be available to stream on all platforms as well as purchase physically as a CD or various limited Vinyl editions.
Ed Sheeran is an era-defining artist who has sold over 52 million albums and 150 million singles across the world. Through his fusion of thought-provoking songwriting, universal pop and multi-genre influence, his rich tapestry is not only perfectly suited to his audience but it’s something that transcends generations.
Since surfacing on the UK circuit in 2010 with his ‘No.5 Collaborations Project’ – an eight-track EP featuring his favourite grime artists of the time – the Suffolk-raised recording artist has resonated with fans across the world through his peerless songcraft and versatility. And now, with six consecutive UK No.1 albums to his name – ‘+’ (2011), ‘x’ (2014), ‘÷’ (2017), ‘No.6 Collaborations Project’ (2019), ‘=’ (2021) and ‘-‘ (2023) – Sheeran continues to reaffirm his status as one of the most in-demand pop stars on the planet.
Prior to the release of ‘=’ (October 2021) – an album that’s now surpassed five million global sales - Sheeran secured two UK No.1 singles in the UK with ‘Bad Habits’ and ‘Shivers’, which sat atop the UK’s Official Singles Chart for a combined total of 15 weeks. Moreover, the LP saw him take home 2 x EMA’s for ‘Best Artist’ and ‘Best Song’; an American Music Award for ‘Favourite Male Pop Artist’; British GQ’s ‘Solo Artist of the Year’; 4 x Los40 Awards; a BRIT Award for ‘Songwriter of the Year’ alongside a nomination for ‘Song of the Year’ at the 2022 GRAMMY’s.
Sheeran’s most recent album, Subtract, secured Ed his sixth No.1 album. Produced by Aaron Dessner, the album was anchored in his love of singer/songwriter compositions and written against a backdrop of personal grief and hope. Ed’s most critically-acclaimed album to date, it housed the heart wrenching UK No.1 single ‘Eyes Closed’ – a song about his late friend, Jamal Edwards.
But it’s not just his recorded music that’s seen the former Glastonbury headliner become one of the sought-after artists of the 21st century. Possessing a mystical ability to turn 90,000 capacity venues into the pub back-rooms that he first started playing in, Ed made history in 2015 after becoming the first-ever artist to play Wembley Stadium solo - without a band, just with his guitar and loop pedal - over three, consecutive sold out nights. Move forward to the summer of 2019 and Ed would re-enter history books after the completion of his mammoth two-year Divide tour, officially becoming the most-attended tour of all time after it culminated with special homecoming shows in Ipswich, Suffolk. Beginning last summer, Ed is currently travelling the world on his ‘+ - = ÷ x Tour’ (pronounced ‘The Mathematics Tour’), which saw him return to Wembley Stadium for a five-night run last June.
Ed Sheeran, who was awarded an MBE for his services to music and charity in 2017, is the proud recipient of 1 x IFPI Award (best-selling global artist of 2017); 4 x Grammys; 4 x Ivor Novello’s; 7 x BRIT Awards (including two consecutive wins for ‘Global Success’ in 2018 and 2019); 7 x Billboard Awards + more. Moreover, to this day, his blockbusting third studio album ‘÷’ remains the fastest-selling album, ever, by a male artist in the UK, while the LP’s lead single, ‘Shape of You’, maintains its status as the most-streamed song in Spotify’s history.
At the end of 2019, Sheeran was presented with the Official Chart Company’s first-ever ‘No.1 Artist of the Decade’ award following a host of accomplishments in his native UK including the most No.1’s across the UK’s Official Singles and Albums chart from the years 2010-2019. Most recently, Ed scored two more feats with the OCC after becoming the first British Solo Artist to claim 52 weeks – an entire year – at No.1 on the Official UK Singles Chart, with only Elvis Presley and The Beatles achieving more overall weeks at the top, as well as becoming the first-ever artist with four albums spending an entire year or more in the UK Top 10.
‘Time Will Tell’ : A journey in reggae music from Bristol to Kingston JA.
Embark on the wild journey of a reggae-loving Bristolian youngster who travelled to the heart of Jamaica on intrepid mission to record a timeless reggae album in the 90s. ‘Time Will Tell’, a collaborative masterpiece uniting the extraordinary talents of Henry & Louis (Andy Scholes & Jac kLundie), Blue & Red (aka Rob Smith from Smith & Mighty) and renowned Jamaican and UK-basedv ocalists.A musical opus that infuses reggae's rich history into modern rhythms straight outta Bristol.
It all began in the summer of 1997, when Andy Scholes decided to trace the origins of reggae music straight back to its origins; armed with a 16-track reel-to-reel and an abundance of passion,he flew to Jamaica with a desire to record his reggae heroes over riddims built by Rob & Jack in Bristol.
Through a series of unexpected events Andy crossed paths with UB40 in the streets of Kingston.He built a friendship with the band and their lead singer, the legendary Ali Campbell took a ninterest in the project, generously giving Andy free access to his studio in Port Maria allowing him to bring life to ‘Time Will Tell’.
Scholes got in the studio with various Jamaican artists and recorded with Tony Tuff, Prince Green, and Johnny Clarke, each contributing their distinct voices and adding to the album's spiritual and conscious themes. The mystical vibe continued with the participation of other artists like Ghadian, Shalom, Pacey, Ben Dice, and Kerosene Oil, each bringing their own authentic style to the project.
The making of ‘Time Will Tell’ required time, dedication, and the synergy of a like-minded collective. The album embodies the warmth and transformative power of music serving as a driving force for positive change.
22 years after its initial release, the album is freshly remastered and reissued onto 12” vinyl by Dubquake Records!
A former pizza delivery driver and now self-taught full-time musician, CRi first caught the attention of tastemaker press with early single ‘Rush’ and his subsequent ‘Someone Else’ EP. Not long after, he joined the Anjunadeep roster in 2019 and gained attention from the label fanbase, and radio titans Pete Tong, Annie Mac and Jason Bentley with his ‘Initial EP’.
His debut album ‘Juvenile’ exceeded expectations, being nominated for a number of awards, including Best Electronic Album at the JUNO Awards, and three separate titles at the 2021 ADISQ Awards, including Electronic Album of the Year and ‘Revelation’ of the Year, which CRi won. Since the release of ‘Juvenile’, CRi has released three singles, an EP and remixes for Bob Moses and Lane 8; become one of the first electronic acts to headline Montréal Jazz Festival to an audience of 45,000; and performed around the world once more, writing as he went.
Since the slower days of the pandemic lockdown, and Quebec’s tentative reopening of nightlife and music venues, CRi’s life has become much more fast-paced once again; a transformation that has been infused into every beat of his new album ‘Miracles’. The vinyl release of ‘Miracles’ comprises 14 tracks, including two standout prior singles, ‘Something About’ and ‘Losing My Mind’ (feat. Jesse Mac Cormack), which, combined, have already accumulated 10 million streams between them.
The other twelve tracks on ‘Miracles’ (including 3 bonus vinyl-only recordings) showcase Christophe’s signature warming synths, in addition to an impressively wide range of sounds, from drum and bass, to indie, from electronic and chillout, making this work his most expansive to date. After the album’s release, CRi will be heading on a live tour of North America, stopping off in seven cities, including Los Angeles, Denver, Toronto and, of course, his hometown of Montréal, where he’ll be headlining at iconic venue MTelus, which regularly plays host to indie-electronic stars, including, recently, Metronomy, Jungle, Monolink, Max Cooper and Amtrac, and is a perfect spot to celebrate his rise in this scene, before he takes his live tour to Europe in early 2024. ‘Miracles’ is out 22nd September, 2023.
Founded by the visionary mind of Masedia, Lost In Sound ignited its vibrant inception in 2017 as an unparalleled recurring series of events pulsing through the veins of Stuttgart's underground scene in Southern Germany.
Now, Lost In Sound Recordings ascends to a new zenith, celebrating its very first release with a four-track EP crafted by renowned Italian DJ and producer Otis. Behold his Euphonia EP, a transcendent journey that weaves a tapestry of emotions and casts an indescribably radiant aura on hot nights. Prepare to surrender to the cascading waves of organic sounds that will unleash a flood of joyous hormones within you.
Otis' EP "Euphonia", a masterpiece of sonic fusion, seamlessly weaves powerful house bombs with captivating influences from electro, acid and trance. This sonic odyssey promises an unforgettable experience that defies categorization. Get ready for the upcoming arrival of LISR001.
We proudly welcome DJ SOFA to the Bukva Sound camp. As 005 the Finnish wonder gal drops us an amazing EP.
DJ Sofa is a truly rising star within the jungle scene, with releases on iconic labels such as Future Retro London, Myor, AKO Beatz, N4, Straight Up Breakbeat, Ruff 'N Tuff.
Danger Management EP shows DJ Sofas production diversity, playfulness and her special feel for the craft that is Jungle.
Last but not least the legend that is Dwarde blesses us on a remix of the track Transmission. Enjoy!
Now in its eleventh year and following hype for recent releases from Osaka's Kiji Suedo (Hosek EP & Riot album) and Edinburgh's George T (Roll On, King's Cross single), Edinburgh's Hobbes Music label burrows deeper into experimental ambient terrain with brand new signing Galun. With a discography over 15 years deep, Galun brings no shortage of his own props.
Galun is the solo project of Moscow musician, artist, and producer Sergei Galunenko (currently based in Tallinn), who has performed at numerous prestigious Russian events and collaborated on projects internationally in a career spanning more than 15 years, with a discography to match, turning his attention to myriad styles: IDM, funk, techno, juke, post rock, beatboxing, free improvisation, drone.
“In my project, Galun, I do not use musical instruments,” he explains. “All the sounds are produced with only the use of my voice through beatbox and special vocal skills. Some effects are used to produce electronic sounds.”
Hot on the heels of the new Golos album (out now via Berlin's One Instrument) plus a remix for US collaborator Alek Finn via Nevada's Mystery Circles label, Galunenko’s eighth studio album, Glagol (or Glagolь / Глаголь in Russian) is an ambient collection, recorded between 2013 and 2022. The title is an old Russian word which translates as ‘Speak’.
"This album consists of tracks written in different periods, so it turned out to be diverse," he says. "There are classic ambient tracks, as well as experimental ones in search of new possibilities for voice processing."
Why "glagol"? “Since the music on this album is 90 percent processed voice, it's a form of conversation for me," he reveals, “where I talk about my thoughts and mood, so speak music, while using my voice, is an amazing way of expressing.”
Five singles will be released on streaming platforms only, at intervals, over summer, with the full album released on digital 25.8.23 and a limited edition cassette plus lathe cuts out from 8.9.23.
"How gorgeous is that?! I have heard the rest of the LP and it is all equally gorgeous" DEB GRANT played ‘Mirror’ (New Music Fix show, BBC 6 Music, 17.8.23)
"'Glagol' translates as 'speak', an apt title when you consider 90 percent of the noises contained on it originated as recordings of his own voice, and that lends the ambient experiments here a very human, tactile feel. Closing tune 'Mirror' is a serene masterpiece, '1981' is an evocative phase-fest, the stuttery 'Stone' is endearing and enrapturing and Galunenko generally displays a knack for communicating clear emotions through abstract sounds. Recommended." ELECTRONIC SOUND
‘Really beautiful’ AVALON EMERSON (US)
‘Really loving the Galun tracks!’ INTERGALACTIC GARY (NL)
‘Super!’ JD TWITCH (Optimo, UK)
'Wow, this sounds amazing. Loving the atmosphere here, ambient with some groove somehow, really feeling this one.' DAN CURTIN (US/DE)
"Sounds great. Looking forward to getting into this properly" LORD OF THE ISLES
‘Wicked. It’s great stuff’ DRIBBLER (Pikes, Ibiza // Paradise Lost, Red Light Radio, Pure; SP)
‘Very nice, will play on Cashmere Radio here in Berlin. Keep up the good musical works x ALEX VOICES (DE)
‘Sounds really nice. The sort of thing I’d absolutely listen to on streaming etc’ AUSTIN ATO (UK)
‘Excellent stuff as always’ PAT BENSBERG (The Eccentric Selection, Phonic FM, UK)
‘Digging this one! Right up my street and just the ticket for my Radio Buena Vida show’ TOM CHURCHILL (UK)
Yellow Vinyl[24,58 €]
Es beherrscht ein grauer, stimmungsvoller und dichter Spätherbst-Tag das Geschehen. Viel zu früh hat der Himmel sich verdunkelt. Jetzt plätschert gleichförmig und regelmäßig Regen auf die Straßen, auf die Erde, auf die griesgrämig wirkenden Menschen herab. So stellt man sich die Atmosphäre vor, in welcher das sechste Subsignal-Studioalbum "A Poetry of Rain" entstanden ist.
Fünf endlos wirkende Jahre ließen Subsignal ihre Anhänger auf neue akustische Klang-Abenteuer warten. "Und auch das hatte wieder mit der Pandemie zu tun", offenbart Markus Steffen den Grund für die quälend lange Pause. "Existenzängste schlichen sich ein", reflektiert er. "Im Zuge dessen verließ der langjährige Bassist Ralf Schwager die Band. Mit Martijn Horsten aus Rotterdam war allerdings rasch würdiger Ersatz gefunden. Dennoch schwelgen die zehn Kompositionen vor Sehnsucht und einer gehörigen Portion Wehmut."
Der progressive Mix aus Rock, Metal und Artrock gelingt scheinbar spielerisch. Ausnahme-Drummer Dirk Brand setzt dabei eine fulminante Basis, auf die mal rockige, mal elegante Gitarren-Sounds zusammen mit den Keyboards einmalige Klangwelten zaubern. Darüber schwebt das wunderbare Timbre von Sänger Arno Menses - immer präsent, immer einnehmend, voller Leidenschaft und Kraft. Dazu trägt auch die kristallklare und druckvolle Produktion von Yogi Lang von ihrem Label Gentle Art Of Music bei.
Presse:
Rocks 9/10: "Songs wie ›Impasse‹ oder "Marigold‹ berühren, transportieren Gefühle und packen den Hörer, wie es sonst Marillion, Yes oder Kansas am besten können. Auf welch hohem Niveau die Herren musizieren, wird bei Nummern wie The Art Of Giving Ins oder ›Sliver (The Sheltered Garden)‹ klar, aber Komplexi-lät ist hier nie Mittel zum Zweck."
Deaf Forever 8.5/10: "…meistens die wie immer großartigen Refrains, die einen aufrichten. ….wie gewohnt exzellent gesungene Artrock-Stücke, die von den nach fünf Jahren Wartezeit dürstenden Anhängern nun endlich auch zu Hause genossen werden können."
Rock It - Soundcheck #6/32: "…so steht der Name Subsignal auch auf Album Nummer sechs doch für handgemachte Qualitätsarbeit mit Herz und Seele. Reinhören, eintauchen und mitfühlen!"
Break Out: "Mit "Poetry Of Rain" unterstreichen Subsignal ihre Ausnahmestellung im Rock: Scheibe unbedingt zulegen! Ich bin mir sicher, dass niemand bei diesem Longplayer enttäuscht sein wird, der sich in melodischen Bereichen mit progressiven Parts wohlfühlt."
Gäste:
David Bertok - Keyboards "Embers Part II - Water Wings)
Marek Arnold - Saxophon "The Last of its Kind"
Yogi Lang - Keyboards
Dietmar Waechtler - Pedal Steel "The Art of Giving In"
Iraklis Choraitis - Backing Vocals "Sliver (The Sheltered Garden)"
Mix & Master von Yogi Lang, Farm-Studios Freising
Green Vinyl[22,90 €]
Es beherrscht ein grauer, stimmungsvoller und dichter Spätherbst-Tag das Geschehen. Viel zu früh hat der Himmel sich verdunkelt. Jetzt plätschert gleichförmig und regelmäßig Regen auf die Straßen, auf die Erde, auf die griesgrämig wirkenden Menschen herab. So stellt man sich die Atmosphäre vor, in welcher das sechste Subsignal-Studioalbum "A Poetry of Rain" entstanden ist.
Fünf endlos wirkende Jahre ließen Subsignal ihre Anhänger auf neue akustische Klang-Abenteuer warten. "Und auch das hatte wieder mit der Pandemie zu tun", offenbart Markus Steffen den Grund für die quälend lange Pause. "Existenzängste schlichen sich ein", reflektiert er. "Im Zuge dessen verließ der langjährige Bassist Ralf Schwager die Band. Mit Martijn Horsten aus Rotterdam war allerdings rasch würdiger Ersatz gefunden. Dennoch schwelgen die zehn Kompositionen vor Sehnsucht und einer gehörigen Portion Wehmut."
Der progressive Mix aus Rock, Metal und Artrock gelingt scheinbar spielerisch. Ausnahme-Drummer Dirk Brand setzt dabei eine fulminante Basis, auf die mal rockige, mal elegante Gitarren-Sounds zusammen mit den Keyboards einmalige Klangwelten zaubern. Darüber schwebt das wunderbare Timbre von Sänger Arno Menses - immer präsent, immer einnehmend, voller Leidenschaft und Kraft. Dazu trägt auch die kristallklare und druckvolle Produktion von Yogi Lang von ihrem Label Gentle Art Of Music bei.
Presse:
Rocks 9/10: "Songs wie ›Impasse‹ oder "Marigold‹ berühren, transportieren Gefühle und packen den Hörer, wie es sonst Marillion, Yes oder Kansas am besten können. Auf welch hohem Niveau die Herren musizieren, wird bei Nummern wie The Art Of Giving Ins oder ›Sliver (The Sheltered Garden)‹ klar, aber Komplexi-lät ist hier nie Mittel zum Zweck."
Deaf Forever 8.5/10: "…meistens die wie immer großartigen Refrains, die einen aufrichten. ….wie gewohnt exzellent gesungene Artrock-Stücke, die von den nach fünf Jahren Wartezeit dürstenden Anhängern nun endlich auch zu Hause genossen werden können."
Rock It - Soundcheck #6/32: "…so steht der Name Subsignal auch auf Album Nummer sechs doch für handgemachte Qualitätsarbeit mit Herz und Seele. Reinhören, eintauchen und mitfühlen!"
Break Out: "Mit "Poetry Of Rain" unterstreichen Subsignal ihre Ausnahmestellung im Rock: Scheibe unbedingt zulegen! Ich bin mir sicher, dass niemand bei diesem Longplayer enttäuscht sein wird, der sich in melodischen Bereichen mit progressiven Parts wohlfühlt."
Gäste:
David Bertok - Keyboards "Embers Part II - Water Wings)
Marek Arnold - Saxophon "The Last of its Kind"
Yogi Lang - Keyboards
Dietmar Waechtler - Pedal Steel "The Art of Giving In"
Iraklis Choraitis - Backing Vocals "Sliver (The Sheltered Garden)"
Black Vinyl[20,80 €]
The latest EP from Drab Majesty marks the start of a stirring new chapter in the band's majestic legacy. Written during a 2021 retreat to the remote coastal Oregon town of Yachats, Deb Demure leaned into the neo- psychedelic resonance of a uniquely bowl - shaped 12 -string Ovation acoustic/electric guitar. After early morning hikes in the rain, Deb would record ambient guitar experiments the rest of the day, tapping into "flow states," letting the sound lead the way. These sessions were then refined or recreated, and later elevated further with key collaborations by Rachel Goswell (Slowdive), Justin Meldal Johnson (Beck, M83, Air), and Ben Greenberg (Uniform, Circular Ruin Studio). An Object In Motion is true to its title, capturing the chrysalis moment of an artist evolving, reborn and untet hered, silhouetted against an open horizon. "Cape Perpetua" kicks off the collection's divergent palette: sparkling acoustic fingerpicking refracted through delay, equal parts raga and reverie. Melodies and moods congeal and dissipate, at the threshold of rustic American primitivism, brooding neo-folk, and pastoral melancholia. "The Skin And The Glove" deploys jangle to different effect baggy, soaring, grey skied kaleidoscopic pop in the spirit of Stone Roses, Primal Scream, and The Glove. Rachel Goswell lends her iconic freefall voice to The Cure - esque ballad, "Vanity," infusing poetic gravity to the doomed refrain: "If the valve breaks / then the earth quakes / and history finds a way / to put you in your place." "Yield To Force", the closing track of the EP, may be the most anomalous offering of the set. A 15 minute instrumental odyssey of cyclical strings, ominous slide guitar, and simmering synthesizer, the piece sways and spirals like a long zoom into distant storm clouds. Demure finesses the guitar with a restless but regal grandeur, unfolding a panorama of peaks, shadows, and plateaus. It's music both intuitive and prophetic, tracing the slow swing of pendulums across an endless plain. Taken as a whole, An Object In Motion presents a showcase of potential futures from Drab's evolving domain, their sound poised to bloom at the precipice of transformation.
Get ready to unleash your inner seventies funk and soul enthusiast with the reissued edition of Miami's self-titled album! This record, which sadly became their last before disbanding in the early 1980s following the collapse of T.K. Records, for which they were the in-house band, will take you on a captivating musical journey.
The energy radiating from this album is almost palpable, filling the air with an electrifying atmosphere. From start to finish, Miami's self-titled album bursts with infectious energy that will transport you back to the soulful sounds of the era.
As the needle hits the vinyl, you'll be captivated by the undeniable groove and irresistible beats. It's a sonic experience that will make you want to move your feet and let loose to the soulful rhythms. This reissued masterpiece brings new life to a record that has long deserved celebration and recognition.
So, let's give Miami's self-titled album the overdue acclaim it deserves. Dust off this musical gem, crank up the volume, and let the funky and soulful melodies guide you on a nostalgic journey. Get ready to groove like never before and experience the magic of Miami's
unforgettable sound in this special reissue
Get ready to unleash your inner seventies funk and soul enthusiast with the reissued edition of Miami's self-titled album! This record, which sadly became their last before disbanding in the early 1980s following the collapse of T.K. Records, for which they were the in-house band, will take you on a captivating musical journey.
The energy radiating from this album is almost palpable, filling the air with an electrifying atmosphere. From start to finish, Miami's self-titled album bursts with infectious energy that will transport you back to the soulful sounds of the era.
As the needle hits the vinyl, you'll be captivated by the undeniable groove and irresistible beats. It's a sonic experience that will make you want to move your feet and let loose to the soulful rhythms. This reissued masterpiece brings new life to a record that has long deserved celebration and recognition.
So, let's give Miami's self-titled album the overdue acclaim it deserves. Dust off this musical gem, crank up the volume, and let the funky and soulful melodies guide you on a nostalgic journey. Get ready to groove like never before and experience the magic of Miami's
unforgettable sound in this special reissue
Daniel Ögren is one of the key artists in Sweden’s contemporary, underground music scene. He has already accrued quite the back catalogue, both as a member of the sensational quartet Dina Ögon and also as a solo artist with eight albums already under his belt. ‘Fastingen-92’ was originally released as a limited-edition vinyl pressing in 2020 on the independent label Sing A Song Fighter Records (the same label that first introduced us to Dina Ögon's music). The album came to our attention after hearing Daniels' solo band performing live at the Stockholm Jazz Club, Fasching. The band featured Love Örsan and Christopher Cantillo of Dina Ögon fame (who also records with the incredible Sven Wunder), and their sensational genre-busting set blew us away. It convinced us that this now out-of-print album needed to reach a wider audience.
‘Fastingen-92’ doesn't sit in one genre, it draws from Daniels's love of South American folk music, soul, Nordic folk music and film soundtracks, resulting in something unique, dreamlike and transformational.
It features 'Idag’, an epic, beautiful, cinematic song that introduces the ethereal vocalist Anna Ahnlund. ‘Idag’ has gained a cult following and Daniel has stated that it was the spark that started the Dina Ögon project. Tracks like 'Annalena' and 'Kristinehamn by Night (for Christopher)' sound like a new club sound that hasn't yet been invented (which Nicola Cruz would spin in his DJ sets), mysterious, hypnotic, and engaging. Other songs like 'Maj (for Tintin)' and 'Picasso' venture into blissed-out Scando-Balearic realms. Daniel's love of nature and the inspiration he draws from the geographic environment of the Swedish countryside can be felt in these tracks, they take you to other places and times and are simultaneously familiar, ancient and alien.
Alongside the collaborations with Anna and Christoper, the album features Josefin Runsteen playing the drums on 'Idag' and Swedish musicians Edvin Nahlin and Ulrik Ordin. The majority of the album was played, recorded and mixed by Daniel. For the Mr Bongo edition, we have added the bonus track 'April’, which was previously only available digitally. ‘Fastingen - 92’ is a truly remarkable record that gets into your soul, so please delve in!
Die Neuauflage von des "Rock Action" Albums von Mogwai, streng limitiert auf Transparent Red Vinyl.
High Roller Records, transparent blood red vinyl, ltd 400, 4 page insert, download code, poster
Transparent-bernsteinfarbenes Vinyl, limitiert auf 100 Exemplare! Values Here ist eine neue Band, gegründet von Sängerin Chui und dem legendären Gitarristen John Porcelly (Youth Of Today, Shelter, Judge). Die Entstehungsgeschichte von Values Here ist lang: Chui und Porcell trafen sich zum ersten Mal vor Jahren bei einer Shelter-Show in Chuis' Heimatstadt Barcelona, Spanien. Sie führten ein eher scherzhaftes Gespräch über die Gründung einer Band und Chui hielt den Kontakt zu Porcell über die sozialen Medien, bis er ihr eines Tages während der Pandemie einige ungenutzte Demos schickte und sie am nächsten Tag mit "Will Be Tomorrow" zurückkam, komplett mit mehreren Gesangsspuren und Harmonien. Von da an verbrachten die beiden ein Jahr mit dem Schreiben von Songs und beschränkten sich auf das, was schließlich die dreizehn Tracks auf "Take Your Time, I'll Be Waiting" werden sollten. Das Album selbst ist optimistisch und hoffnungsvoll und vermittelt ein positives Mindset. Es gibt Tracks mit klassischem New York Hardcore-Einfluss wie das treffend betitelte "Bring Me The PMA" und solche, die sich in Pop-Rock-Gefilde wagen, wie "We Get Stronger". Durch die Produktion von Tom Soares (Judge, Shelter) und dem Mastering von Dave Kutch (Billie Eilish, The Weeknd) war die Band in der Lage, einen dynamischen Sound zu kreieren, der sowohl ins Radio passt als auch zum Herumspringen in einem Moshpit geeignet ist. Über die klangliche Ausrichtung sagt Porcell: "Personally I always like to push the envelope with every band and record I do. I never just want to live off of past accomplishments and recreate a sound I did with previous bands just because I know it will be immediately accepted. I'd rather push forward and always challenge myself to make newer and more interesting music. I knew Chui was an amazing singer so I wanted to write songs that would showcase her voice and harmonies. I'm a punk rocker at heart so I'll always make music that's energetic and rallies around a message, but for this record I wanted to go further into the melodic side of things." Eines ist sicher: Values Here kreieren hymnische, energiegeladene Songs zum Mitschreien und Tanzen, die sich an die positive, optimistische Perspektive anlehnen, die dem Hardcore-Punk überhaupt erst ein Gefühl von Gemeinschaft und Verbundenheit verliehen hat.
„The Threepenny Opera“ is a timeless masterpiece that
combines social commentary, satirical elements and
stirring music. This LP captures the energy and spirit of the
performance while bringing the distinctive characters and
dramatic action to life.
Whether you are already a fan of the play or discovering it for
the first time, this piece of music will transport you to a world
of drama, emotion and musical brilliance.
In the heart of the cosmos, a tale unfolds. It begins with "My Space," where ethereal synths weave a cosmic tapestry, guiding you through distant galaxies. As you journey further, "Satan" emerges, beckoning you to dance with the darkness itself, under the canopy of sadistic beats.
Venturing deeper into the EP, "Get Stupid" takes you to an enigmatic dimension, where gravity-defying rhythms entice you to embrace your wildest instincts. In "Yallah," the atmosphere shifts, transporting you to a mystical oasis where sonic mirages shimmer in the desert of sound.
And just when you thought the adventure reached its pinnacle, "Can't Get Enough" mesmerizes with its infectious grooves, leaving you irresistibly addicted to the sonic enchantment.
Turns out Coco Bryce is more than just a hot piece of man meat. On "My Space" this enigmatic master of sound once again harnesses the forces of the universe to craft five enthralling compositions. His boundless creativity and passion for exploration shine through in every beat, taking you on a euphonic jungle expedition like no other.
ChatGPT rated this release 5 out of 5 on Tripadvisor
Colour in colour vinyl, transparent and red with blue splatter. Limited to 200 copies. "I had just got off the road and went right into the studio out in the desert at Rancho de La Luna. I was living in the house just behind at the time making sessions super convenient. I was set to record with my band the Bros in a couple weeks but I decided to go into the Rancho early and get some sounds. Tony and I ended up recording a bunch of songs that I was writing on the fly. A week later the Bros showed up and we recorded another batch of songs with the band playing live in the front room. After we wrapped I combined both my solo session and the Bros session and released in as one record called Saved By Magic on my label Duna records. That was 2005. Now I'm rereleasing this record on HPS and I've decided to separate the two sessions into their original bodies of work. My solo session and the Bros session. I mostly did this because I feel the Bros deserve to have something of their own as they were a magical band. I also just thought it would be cool. I call both records Saved By Magic Again." New album cover by Maarten Donders. Remastered by John McBain !!
A Crimson Shore is Saåad’s first studio album since Présence/Absente in 2018. In the interim, Toulouse-based composer and producer Romain Barbot has enriched his experience as an artist through multiple collaborations, the composition of soundtracks and commissioned pieces, as well his involvement with the bands FOUDRE! and Sables Noirs.
This new chapter in the artist’s discography reflects this artistic maturity, evoking the project’s finest ambient recordings while revealing a new, unfiltered and decisive personality. Saåad’s use of a more direct musical language (exclusively electronic on this album) is intended to lay bare the inner life of its creator: the tracks are structured in a cycle of loops, vibrations and drones which respond to and confront each other like the torments of existence, torn between the twilight of sombre music reduced to its purest function of catharsis and the dawn of a new, luminous narrative journey.
A Crimson Shore is a raw, all-encompassing album, shot through with the fear of death, of growing old, of accepting it, of grief — past, present, imagined and future — and the search for a transcendental refuge.
Das Debütalbum von Sheffield's Heaviest aus dem Jahr 2013 ist nun endlich als 10th Anniversary Re-Issue wieder erhältlich. MALEVOLENCEs "Reign Of Suffering" ist eine erfrischend old school klingende Platte, die die Genres Thrash, Death Metal und Beatdown-Hardcore unbeschwert überspannt. Bösartig groovig, schwerer als Beton und für den Pit gebaut! Nach der Veröffentlichung ihres dritten Albums "Malicious Intent" im Jahr 2022, das in Deutschland auf Platz 32 der offiziellen Albumcharts einstieg, tourten MALEVOLENCE zuletzt mit Heaven Shall Burn & Trivium durch Europa, sind derzeit mit Beartooth & Trivium in ganz Nordamerika unterwegs und werden im November/Dezember mit Sylosis, Guilt Trip und Justice For The Damned erneut in Europa headlinen. "Reign Of Suffering (Re-issue 2023)" ist als Jewelcase CD oder als Ltd. Edition auf transparentem, grün gefärbtem 180g Vinyl über Century Media Records erhältlich.
Das fünfte Studioalbum der polnischen Rockmeister RIVERSIDE aus dem Jahr 2013 ist endlich wieder auf Vinyl erhältlich: 10th Anniversary Re-Issue als Ltd. Edition transp. hellblau 2LP auf 180g Vinyl, inkl. 4-seitigem LP-Booklet und den beiden "Night Session" Bonustracks. "Shrine of New Generation Slaves" wurde im Serakos Studio in Warschau, Polen (wo auch die "Reality Dream"-Trilogie entstand) mit Magda Srzednicka und Robert Srzednicki aufgenommen, gemixt und gemastert. Es bietet über 50 Minuten hochklassige RIVERSIDE-Musik, aufgeteilt in 8 Songs, die nicht nur eine weiterentwickelte, moderne Sichtweise auf die charismatischen Trademark-Elemente der Band deutlich widerspiegeln, sondern auch weitere Vibes aus dem Classic-Rock-Segment sowie jazzige Art-Rock-Anteile wirkungsvoll in den immer wieder herausfordernden Mix einbringen, für den RIVERSIDE seit jeher steht, vielleicht nur weniger standardmetallisch und auch weniger komplex, ohne weniger progressiv zu sein.
Vienna has a storied history as a ground zero for new music. Radian, who call Vienna home, embodies the city"s spirit of innovation. Martin Brandlmayr (drums, electronics), Martin Siewert (guitar, electronics) and John Norman (bass) are stalwarts of the European contemporary music community. Distorted Rooms presents a dazzling new elevation of Radian"s employment and manipulation of microtones with a new emphasis on abstracted guitar motifs, often employing a more loop-based or electronic approach to the guitar"s sonics. Radian"s visionary approach to composition speaks to a lifetime of working in forward-thinking music. The trio expertly hone in on sounds often removed from the sheen of the recording process and mine them for unique, rich textural sound palettes which they then meticulously arrange. Distorted Rooms creative process began with multi-stage recording of often the smallest sounds, from pick-scrapes to an amplifier"s latent hiss. These slivers of sound are then restructured and processed through a variety of techniques that transform them drastically. Radian have always been interested in sounds that might be considered byproducts and maximizing their creative and aural potential. More minor gestures like switching a pedal on and off or toggling the guitar"s pickup are mic"d and spun into textures that crackle and froth to fascinating effect. Radian"s angular, expansive music delights in tension and contradiction, sound and silence, improvisation and composition. The trio employs a singular and wholly unique sense of microtonality. While their creation process is complex, the resulting music is emotionally affecting, creating an aura of suspense and at times unease. Brandlmayr, Siewert, and Norman share an unconventional, wildly imaginative approach to sound.
The Tribe co-founder’s masterpiece, lacquered directly from his master tapes in an all analog transfer by Bernie Grundman. The de nitive reissue of this Spiritual Jazz album, one of the most sought after artifacts of the 1970s jazz underground. The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.
High Roller Records, picture vinyl, ltd 500, handnumbered, insert, A5 photo card, double-sided poster, Transfer, audio restoration and mastering by Patrick W. Engel in February 2023. Cutting by SST Germany on Neumann machines for optimal quality on all levels ... The ultimate audiophile reissue!
High Roller Records, picture vinyl, ltd 500, handnumbered, insert, A5 photo card, double-sided poster, Transfer, audio restoration and mastering by Patrick W. Engel in February 2023. Cutting by SST Germany on Neumann machines for optimal quality on all levels ... The ultimate audiophile reissue!
Mad Honey are a dream-pop band from Oklahoma City, OK. "Satellite Aphrodite" is the debut album from Mad Honey. The exciting first chapter of a band destined to be part of the modern indie-rock lexicon for years to come. As opener "Tuff's Last Stand" emerges, we are transported into Mad Honey's lush world of musical melancholy. This leads to the hazy and hook laden "Heavier Still", "Fold", and "Larkspur". Unforgettable songs that showcase a sophistication deep within Mad Honey's multi-layered approach. At the midpoint where many albums meander, "Satellite Aphrodite" continues to ascend. "Eileen", "E.T.Y.N", "R U Feeling It", and "Psycho" all shimmer and sway with punk heart and pop sensibility unlike anything else out there today. The acoustic heavy "Kamakura" then playfully brings us to "Concentration" and poignant title track. Two infectious songs that show Mad Honey discovering their own youthful creative magic in real time.
Omnivium is the third studio album released by German death metal band Obscura, and the second album of Obscura's four album concept. The album was recorded at Woodshed Studio in southern Germany with engineer Victor Bullok (also known as V.Santura). It was released by Relapse Records on 29 March 2011. The album is based on Friedrich Schelling's Clara: or On Nature's Connection to the Spirit World (1810). Obscura released the track "Septuagint" to the public on 19 January 2011. The second song from Omnivium, "Vortex Omnivium", was released to the public on 24 February 2011. Omnivium debuted at #11 on the USA's Top Heatseekers chart, and at #14 on Germany's Media Control Newcomer chart. furthermore, within the first week the album sold 2,000 copies the US
Yoke Lore’s first full length album, Toward A Never Ending New Beginning is set to solidify Adrian Galvin as an indie pioneer, transcending beyond the genre with his unparalleled talent for captivating listeners with his distinct artistic vision and introspective lyricism. The 14-track album chronicles his journey of turning strengths into weaknesses, personal growth, and discovering who Yoke Lore truly is. It’s an album full of reflection and raw, unfiltered honesty that will most definitely connect with listeners on a deeper level. Combining electronic beats with subtle instrumentation, each song on Toward A Never Ending New Beginning is sonically diverse and thoughtfully crafted, taking listeners on a journey of self-discovery along with Galvin. Galvin views his debut record Toward a Never Ending New Beginning, as being guided by the principles of the I-Ching; an ancient Chinese divination text that maps out 64 transitions that you could possibly be going through at any time, reflected in the form of hexagrams. It is a meditation on all of the little changes he has gone through in his life: from celebrations to moments of sadness to moments of stillness. All of it is connected, all of it is related.
Finland’s Hexvessel return with their sixth album, Polar Veil, a cold, metallic hymn to the Sub Arctic North. Haunted by primal forest spirits, Mat “Kvohst” McNerney summons the ghosts of his past in a jaw-dropping, unheard-of rebirth of style and sound. At once unmistakably Hexvessel, Polar Veil is also steeped in the nocturnal atmosphere of McNerney’s past, churned in the cauldron of Black Metal, Ritual Folk Psychedelia and Doom Rock, and echoing with shivering Gothic undertones. From their inception in 2009, Hexvessel, created by Mat McNerney as what he described to Decibel Magazine as “a free spiritual journey and a musical odyssey with no boundaries”, have captivated audiences and listeners with their evolution. Holed up in a home-made studio in his log cabin during the winter of 2022, McNerney drew on all the fundamental elements of his music career as a shamanic shapeshifter, with only the isolation of nature’s solitude as inspiration. Painting an aura with Polar Veil which resonates with solitary reflection and themes of personal spiritual transcendence, Hexvessel’s new album is a bold statement from an artist who continues to reinvent and explore nature mysticism through music.
Finland’s Hexvessel return with their sixth album, Polar Veil, a cold, metallic hymn to the Sub Arctic North. Haunted by primal forest spirits, Mat “Kvohst” McNerney summons the ghosts of his past in a jaw-dropping, unheard-of rebirth of style and sound. At once unmistakably Hexvessel, Polar Veil is also steeped in the nocturnal atmosphere of McNerney’s past, churned in the cauldron of Black Metal, Ritual Folk Psychedelia and Doom Rock, and echoing with shivering Gothic undertones. From their inception in 2009, Hexvessel, created by Mat McNerney as what he described to Decibel Magazine as “a free spiritual journey and a musical odyssey with no boundaries”, have captivated audiences and listeners with their evolution. Holed up in a home-made studio in his log cabin during the winter of 2022, McNerney drew on all the fundamental elements of his music career as a shamanic shapeshifter, with only the isolation of nature’s solitude as inspiration. Painting an aura with Polar Veil which resonates with solitary reflection and themes of personal spiritual transcendence, Hexvessel’s new album is a bold statement from an artist who continues to reinvent and explore nature mysticism through music.
After already having taken forward-thinking extreme music to unprecedented heights over the course of their short but propulsive career, Richmond's INTER ARMA are back with another opus of epic proportions. Like the band's previous works, the new album Paradise Gallows is direct and foreboding while maintaining a nuanced, artful perspective. INTER ARMA's signature palette of dissonant high-end and abyssal low-end has been augmented with swathes of thick, impressionistic melody that lend Paradise Gallows a truly biblical sense of scale, both lyrically and in terms of the album's sonic content. Harsh and acoustic passages (including the band's first-ever foray into clean vocals) spar with complex rhythmic structures across nine sweeping tracks over 71 minutes of expansive, progressive heaviness. Dense, funereal, and richly evocative, Paradise Gallows is a vibrant blend of doom, post-metal, sludge, avant-garde, black and death metal, and is a singular and powerful new addition to the band's already monumental discography. Includes Digital Download
Engineered by Kurt Ballou at the band's longtime studio/practice spot God City, "No Heroes" shows the band exploring new sonic textures while still retaining the palpable energy they've become known for. While the album blazes out of the gate with the aptly titled "Heartache," songs like "Orphaned" and the intense "Plagues" prove that breakneck speed and heaviness aren't necessarily interrelated, and when Converge lower the tempo, they're able to effortlessly transcend traditional notions of heaviness. Devotees of "Jane Doe" will also be blown away by epic tracks like the nine-minute "Grim Heart/Black Rose," a doom masterpiece which features guest vocals from Only Living Witness' Jonah Jenkins. From Bannon's captivating artwork and introspective lyrics to Ballou's masterful production techniques, Converge's artistic vision has always separated the band from their peers, and "No Heroes" is no exception. Simply a great album.
The album marks the band's first since the departure of lead vocalist and founding member Woody Platt. The Rangers have added acclaimed singersongwriter Aaron Burdett as an official member of the band, bringing new ideas and harmonies to the sextet's ever-evolving sound. The album was recorded over a weeklong period at the Inn Bat Cave, a legendary spot that used to be Lynyrd Skynyrd's old hideout. On CD and first edition vinyl LP of Morning Shift is pressed on translucent orange vinyl and limited to 1,000 copies worldwide.
Committed to tradition, yet set on innovation, Super Duty Tough Work is a constantly evolving, art-rap ensemble with their intentions set on shaking up the industry and providing offerings that elevate joy, while standing in opposition to the homicidal capitalist ideals of the ruling class and their aspiring accomplices.
Rooted in the tradition of Black American resistance arts, Super Duty Tough Work is known for their scathing wit and thorough analysis, pushing their radical politic of revolution, party, and bullshit - both on record and on stage.
Inspired by the dirty jazz sample sound of 90s east coast hip hop, Super Duty Tough Work are the live incarnation of hip hop culture's quintessential era, appearing as a band but manifesting a sound that's more akin to something straight out of an MPC or SP-404 sampler.
Revered for their methodically curated sets, Super Duty Tough Work mixes laidback rap action and razor- sharp delivery with hypnotic loops and effortless transitions, keeping audiences on their feet and transfixed in anticipation for what's coming next.
Simply put: internationalism is the theme, liberation through hedonism is the dream, and satisfaction is guaranteed from the team whose specialty is taking audiences on a journey through a culture where loops are slayed and jewels are the tools of the trade.
Super Duty Tough Work. Paradigm Shift. Worldwide 9/8 via Next Door Records.
"Neural transmissions of crisis on the eve of WEB 3.0"
Net Prophet finds the band moving deeper into the vaporous territory of 21st century excess, where power casually corrupts absolutely and the mental netscape is more deranged in the membrane than we ever knew possible. A world on the edge, where imminent ecocide and violent social upheaval lurk beneath every minute mental distraction. The doomscroll gets longer and the attention span shorter as a disconnected global internet life takes over with its scepters of promise and looming evasiveness.
The sound is rich in variety from the darkwave pulsing synths of "Lichtenberg Monologue" reminiscent of Shape / Shifting's "Tomahawk" to the growling, slowdriving bass of "A New Dawn" which harks back to the bands S/ T 1st record, albeit with a synth instead of guitar. Even with the stark contrasts of murder-punk "AR-15" and jangle- pop "Purgatory Mall" the record never strays from the prime colors of the band: Vox, Drums, Bass, Guitar, Synth.
Recorded live in the Berlin studio Monoton, the record demonstrates the band in its prime - tightened up and influenced by their extensive touring, who have honed their sound from simple elements into a rich and tasty nugget, easily digestible for the modern consumer. Always true to their company slogan "tight, loose and evil".
But after collectively moving across the country from Burlington, VT to Seattle, WA, the scrapped tracks transformed substantially into florid, at times entrancing compositions.
The pulsating "Circles" opens the album with lilted reflections on empathy, breathing in midtempo syncopation with subdued guitar tip- toeing around melodic drumming. supernowhere's cast of Meredith Davey (bass, vocals), Kurt Pacing (guitar, vocals), and Matt Anderson (drums) share a collective ambition for maximum interplay and collaborative writing, materializing cleanly knotted compositions that evoke vivid dreamscapes and the profound epiphanies drawn from them ("The Hand", "Ecdysis"). On upbeat "Dirty Tangle" Davey's voice glides through Pacing's angular arpeggiations, carving her own rhythmic lane with her distinctive, descanting singing style.
"Skinless Takes A Flight" notably would not have come to fruition without the help of engineer Dylan Hanwright (mix. Gulfer, mem. Great Grandpa, I Kill Giants), whom the band met shortly after relocating to Seattle. Hanwright offered up the studio where the album was recorded as a temporary rehearsal and writing space during the pandemic, which in turn gave him intimate familiarity with the music, resulting in an album that was recorded as intimately as it was written. Hanwright helped make the little moments shine too, as heard in the fleeting vocal harmonies on "Augury", or the spiraling chaos in "Basement Window," a further testament to the collaborative, everyone's-input-matters nature that characterizes supernowhere's dizzying yet meditative sophomore record.
Jonny Benavidez, the sweet-spoken soul virtuoso, is back with his latest 7" double-sider drawn from the album "My Echo, Shadow and Me". Backed by Cold Diamond & Mink's mesmerizing grooves, Jonny delivers another extraordinary musical voyage.
The top side, 'Do What You Wanna Do,' intertwines his golden voice with a steady dance groove, the determinate message getting wings under Jonny's majestic command. Flipping the record reveals 'Your Last Song,' a heartfelt bluesy downtempo soul gem that will leave an indelible mark on the hearts of those who appreciate the power of soulful melodies.
This record showcases Jonny's distinct sound and evolving style blending a firm understanding on the origins of his craft with a contemporary touch. Prepare to be transported to a world of soulful ecstasy as Jonny Benavidez continues to enchant with his undeniable style and unwavering passion.
As for the music: no sophomore slumping to be
found here. Back then Matador wrote, “With
impossibly huge hooks and an innate
understanding of every pop trick in the book, this
follow-up to 2000’s breakthrough ‘Mass Romantic’
is the most exciting pop record we’ve heard in a
long while.”
For once, tastemakers of the day shared the
label’s enthusiasm: “The New Pornographers mix
the pop purism of the Beach Boys, the power
charge of Cheap Trick and the gentle psychedelia
of Syd Barrett,” wrote the New York Times, who
labelled ‘Electric Version’ “Some of the best pop of
the year.”
After the success of Death Walks Behind You, an appearance on Top of the Pops, and a successful tour, it was time for emerging stars Atomic Rooster to record their third studio album, In Hearing Of. The album is a perfect example of a band evolving and in constant transition, such as they show with this little-known gem of the '70s British rock.
Much less bombastic than the band's earlier releases, In Hearing Of is almost funky at times. The lyrics are doom-laden in the spirit of much of this genre of British hard rock at the time, and pseudo-classical references crop up from time to time, but Vincent Crane's keyboards are generally tasty, and the melodies are often downright memorable.
In Hearing Of is available as a limited edition of 750 individually numbered copies on translucent magenta coloured vinyl.
Tighter is the reissue of the out-of-print debut album Tight by American electronic rock band Mindless Self Indulgence. Originally released in 1999, the album was given an expanded edition in 2011 but has been out of print for over a decade.
This vinyl reissue includes the original 15 tracks, as well as the 11 B-sides, including the songs "Bring the Pain," "Tornado," "I Hate Everyone," and the standout track "Molly." Marked by an eclectic range of influences and showcasing the band's signature sound, Tighter is both chaotic, offensive, and danceable, perfectly capturing Mindless Self Indulgence's early musical efforts.
The album is unapologetic in nature, which solidified Mindless Self Indulgence's reputation as one of the most innovative and boundary-pushing bands. Tighter remains a cult classic and a testament to the band's enduring influence.
Tighter is available as a limited edition of 2000 individually numbered copies on translucent magenta coloured vinyl and includes 2 printed innersleeves.
Stelios Vassiloudis enters an inspiring new phase as he unveils his sophomore LP All Else Fails available March 25th via Balance Music.
Hailing from Athens, Greece, Stelios Vassiloudis poses a triple threat as a composer, producer and DJ. Having been active in the electronic music scene since the early 2000s he has cultivated his own brand of distinctive ambience reflective of his rich and diverse musical background; transcending the dance floor via an emotional narrative of complex soundscapes, intricate harmonies and hypnotic rhythms. Over the past decade Stelios has released music under various other monikers, yet this new endeavour is his most diligent to date - allowing him to rediscover his love for making music during the process, "I'm more hopeful, inspired and determined than ever before."
Ten years on from the release of his debut LP, Stelios' detail-oriented offerings remain incomprehensibly thought-provoking and thorough with this new album. Noticeably dissimilar to any previous efforts, Stelios consciously took a step back from the pressure of maintaining a steadily flowing supply of functional, club-oriented music and as the world stood still amidst the pandemic, he embraced the opportunity to reconnect and express himself with a broader musical vocabulary. He admits that: "with the world around us seemingly on the fast track to Armageddon, the music ended up being very much reflective of the sadness and helplessness I felt."
All Else Fails is a stimulating odyssey to anyone listening. Harmonically dense, arcadian glistens seep throughout the ten tracks, each complementary to the next. Bask in the wistful iridescence and you won't be disappointed.
Stelios carved his way into electronic music by traversing around the globe as a DJ and performer - performing at intimate underground bars in Beirut, festivals in Miami, after-hours in Tokyo, beaches in Goa and mega clubs in Argentina. Having developed a formidable discography on esteemed labels such as Bedrock, Poker Flat, Ovum, Constant Sound and Darkroom Dubs, among others, Stelios' studio prowess and coveted productions cemented his reputation as a versatile and acclaimed artist. His intense passion and drive for innovation in music serves as the fuel to keep him inspired and relevant, qualities that no doubt ensure his reputation as an artist of the highest calibre, will endure.
The Keplar label presents the next instalment in a series of reissues from the catalogue of Sasu Ripatti’s seminal Vladislav Delay project. Originally released on Mille Plateaux, the vinyl edition of »Entain« from 2000 omitted two shorter tracks and included all others in an abridged form. With this reissue, the full album as it was pressed on CD is finally made available on vinyl. Besides a new remaster by Kassian Troyer, it was also given new cover artwork by Marc Hohmann that picks up on that of the »Whistleblower« reissue, released in early 2023 by Keplar. This serial visual approach highlights the conceptual continuity between those masterful explorations of the interplay between dub techniques, noise, and repetition.
Ripatti himself had reworked material from 1999’s »Ele« album for the release of »Entain,« which means that it can be considered the debut album proper of his Vladislav Delay project. It saw the Finnish artist aim more vigorously for abstraction than in his earlier releases as Vladislav Delay for labels such as Chain Reaction, which were collected on the iconic »Multila« compilation in 2000; another milestone from his back catalogue that has been reissued by Keplar in recent times. To mark this special occasion, »Multila« will be repressed by Keplar with a new artwork that matches the new design of »Whisteblower« and »Entain«.
»Multila« and »Entain« correspond with each other conceptually as much as they seem to differ on a musical level. The material on »Multila« was clearly indebted to the Berlin dub techno sound, marked by its grainy and at times abrasive sonic aesthetics. From the very first moments of the 22-minute long opener »Kohde« however, it becomes clear that »Entain« takes things further away from the dancefloor, aiming less for physical impact than for intellectual stimulation. A sort of electronic minimal music, it was primarily interested in letting discrete elements freely come into play with one another.
Much like »Multila,« however, »Entain« highlighted the subtle differences embedded in what only feels like repetitive music. Of course the massive bassline and ghostly dub riddims that permeate »Notke« as well as the deconstructed beat at the core of »Ele« still hint at Ripatti’s roots in beat-driven music. However, they also make his artistic transformation audible by turning their sources of inspirations into something entirely unheard of. »Entain« took the dub techno formula further than any other record before it—onwards into the realms of pure abstraction.
Call Me By Your Name, the film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman.
Summer of 1983, Northern Italy. An American Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.
The film received widespread critical acclaim, particularly for Chalamet, Hammer and Stuhlbarg's performances, Guadagnino's direction, and the screenplay. Call Me By Your Name won a variety of awards, including an Academy Award, BAFTA, GLAAD and the 23rd Critics' Choice Award amongst others. Sufjan Stevens' song "Mystery of Love" was also nominated for the Academy Award for Best Original Song.
Luca Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt pieces to get close to Oliver. The music is used to reflect the time, the characters' family, level of education and "the kind of canon they would be a part of."
Guadagnino found himself resonating with Sufjan Stevens' lyricism through his work and initially asked Stevens to record an original song. Eventually, Stevens contributed three songs to the soundtrack: "Visions of Gideon", which was used at the end of the film, "Mystery of Love," which was featured in the film's first trailer, and a new rendition of "Futile Devices" with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film.
Call Me By Your Name is available as a limited edition of 15.000 copies on "Velvet Purple" coloured vinyl. The 2LP is housed in a deluxe gatefold sleeve with rainbow laminate finish and includes printed innersleeves, an insert with movie stills, and a poster.
Call Me By Your Name, the film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman.
Summer of 1983, Northern Italy. An American Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.
The film received widespread critical acclaim, particularly for Chalamet, Hammer and Stuhlbarg's performances, Guadagnino's direction, and the screenplay. Call Me By Your Name won a variety of awards, including an Academy Award, BAFTA, GLAAD and the 23rd Critics' Choice Award amongst others. Sufjan Stevens' song "Mystery of Love" was also nominated for the Academy Award for Best Original Song.
Luca Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt pieces to get close to Oliver. The music is used to reflect the time, the characters' family, level of education and "the kind of canon they would be a part of."
Guadagnino found himself resonating with Sufjan Stevens' lyricism through his work and initially asked Stevens to record an original song. Eventually, Stevens contributed three songs to the soundtrack: "Visions of Gideon", which was used at the end of the film, "Mystery of Love," which was featured in the film's first trailer, and a new rendition of "Futile Devices" with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film.
Call Me By Your Name is available as a limited edition of 15.000 copies on "Velvet Purple" coloured vinyl. The 2LP is housed in a deluxe gatefold sleeve with rainbow laminate finish and includes printed innersleeves, an insert with movie stills, and a poster.
The third volume of the most libidinous edit series around is finally landing on the shelves, ready to make even the hardest-to-please clubgoers drenched in sweat on the dancefloor.
The record starts at full speed with "Erotic 707 Sample," an irresistible feast of splashes and drums, just to abruptly transition into a smooth and dreamy mood with the downtempo gem "Tudo Ligado."
The B-side opens with the seductive Disco-House vibes of "Disco Manina," peaking with the anthem "Oh...Money!" - perfect to be sung along while holding hooves.
Daniel Ögren is one of the key artists in Sweden’s contemporary, underground music scene. He has already accrued quite the back catalogue, both as a member of the sensational quartet Dina Ögon and also as a solo artist with eight albums already under his belt. ‘Fastingen-92’ was originally released as a limited-edition vinyl pressing in 2020 on the independent label Sing A Song Fighter Records (the same label that first introduced us to Dina Ögon's music). The album came to our attention after hearing Daniels' solo band performing live at the Stockholm Jazz Club, Fasching. The band featured Love Örsan and Christopher Cantillo of Dina Ögon fame (who also records with the incredible Sven Wunder), and their sensational genre-busting set blew us away. It convinced us that this now out-of-print album needed to reach a wider audience.
‘Fastingen-92’ doesn't sit in one genre, it draws from Daniels's love of South American folk music, soul, Nordic folk music and film soundtracks, resulting in something unique, dreamlike and transformational.
It features 'Idag’, an epic, beautiful, cinematic song that introduces the ethereal vocalist Anna Ahnlund. ‘Idag’ has gained a cult following and Daniel has stated that it was the spark that started the Dina Ögon project. Tracks like 'Annalena' and 'Kristinehamn by Night (for Christopher)' sound like a new club sound that hasn't yet been invented (which Nicola Cruz would spin in his DJ sets), mysterious, hypnotic, and engaging. Other songs like 'Maj (for Tintin)' and 'Picasso' venture into blissed-out Scando-Balearic realms. Daniel's love of nature and the inspiration he draws from the geographic environment of the Swedish countryside can be felt in these tracks, they take you to other places and times and are simultaneously familiar, ancient and alien.
Alongside the collaborations with Anna and Christoper, the album features Josefin Runsteen playing the drums on 'Idag' and Swedish musicians Edvin Nahlin and Ulrik Ordin. The majority of the album was played, recorded and mixed by Daniel. For the Mr Bongo edition, we have added the bonus track 'April’, which was previously only available digitally. ‘Fastingen - 92’ is a truly remarkable record that gets into your soul, so please delve in!
The Sullivan Brothers Are BACK!
And they brought reinforcements.
Hi This is Moscoman, I Love SX2, they are the artist i work with the most, I try to keep a super tight relationship and share with them all my knowledge, these days it’s super hard to get the attention of the Media, Fellow DJs and even your own mother , But I will say this, if you listen to their material you will be transcended to a time when everything was possible, when guitars ruled the airwaves, when you just wanted to stare at the floor and shake your head violently. Steady Up is a pure banger, Featuring Uprising Meteor and fellow Irish Pat Lagoon, Which I could only describe as Nirvana playing with Grime.
Check it out, play it loud.'
When one of South Africa's most sought after trumpet players steps forward after a career alongside the very best in the International jazz scene, you know it's going to be a special record.
Dennis Mpale was one of South Africa's heavyweights. You'll find his name springing up on every important South African jazz record and billing since the 1960's. Chris McGregor's iconic Jazz/The African Sound LP, Abdullah Ibrahim's Dollar Brand, Barney Rachabane in the highly influential ensemble Roots, and early work in house bands appearing alongside Nick Moyake in The Soul jazz Men to name just a few. His trumpet playing had character, an extension of the body and amplifier of that great South African sound.
Leaving South Africa during Apartheid as a strong supporter and member of the ANC, Dennis made London his home, joining the newly established SA Jazz scene and standing in solidarity against the oppressions back in Africa.
Moving between London and South Africa during the 70's and 80's It wasn't till the early 1990's when Dennis finally settled again to make his biggest transition to solo artist, redefining his Jazz past and putting a heavy kwaito infused house slammer on the agenda. 1994s 'Paying My Bills' (a title maybe more appropriate now than it ever has been) is a mighty jazz kwaito house effort: From the heavy synth beat and gorgeous floating solo opener of 'Paying My Bills', to the highly infectious vocal phrasing on thumping house anthem 'Take My Time'. Paying My Bills takes the sensibilities of a jazz maestro and pairs it with one of South Africa's biggest producers Peter 'Hitman' Moticoe, creating the perfect recipe for a certified summer slammer.
Having previously only ever been released on CD, this is the first ever vinyl pressing of the album (hazy early test pressings lurk on a small number of lucky shelves). Vinyl mastering is handled by The Carvery's very own Frank Merritt here in London, with the resulting tracks generously split over 2 discs to fully appreciate the swampy heavy dub bass drolls for full dancefloor effect. It's loud and punchy and makes space for those glorious trumpet improvisations while keeping the synth refrains and heavy bass thumping.
Early plays include resident NTS DJ's and a feature on Palms Trax Radio 1 residency with surely more support to follow.
After a slightly extended break, CEP Records makes its return! This edition features a trance-inspired release by the hero Arman John, accompanied by two incredible remixes from Janis Zielinski and riko.
Kicking off this release is 'Pump That Soundsystem', a genuine trance driver infused with a hint of techno energy. The soulful pitched vocal and distinct chords add a remarkable touch, making this track poised to burn the dancefloor. Within riko's remix of 'Pump That Soundsystem,' he preserves the positive essence of the original track while infusing it with his personal signature. With rhythmic drums, an unceasing bassline, and an infectious melody, he introduces a touch of old-school sound that keeps the groove alive. For the second original piece, Arman John presents 'Like A Salt Shaker.' Powerful bassline rhythms, textured drums and a significant vocal hustle the track with intensity. The soulful synth, making a notable appearance midway, elegantly includes an unprecedented touch of elegance. Bringing the release to a close is Janis Zielinski's remix of 'Like A Salt Shaker'. A dynamic interplay of fresh chords and synths bringing the track into boundless realms. The transformed synth from the original version fosters familiarity and diversity, adding significant drive that impeccably concludes both the track and the entire release.
'Pump That Soundsystem' by Arman John drops via CEP Records on 20th September 2023.
Proper full-length outing from Naarm quartet and venerable live show Polito! Though prior associations with Butter Sessions have birthed EP's and compilation appearances, Collapse Phase gathers the most cohesive body of work from the group to date. Self-described as "a meeting of improvised contemporary dance and live improvised techno music, working together to create entrancing performance experiences", the project translates impressively to the long-player format. Holding no pretence with its title, opening cut 'Chuggalug' swirls around the stereo field building upon sustained synth warbles with low-key basslines and breaks propelling the track. As the album progresses from the chug into gridlocked, Mills-ian loops and fast, extra-terrestrial sound design (all swinging 909s + decay), we're also treated to contrasting downtempo acid cuts and dubwise, day-time festival vibes ('Fortune Teller'). 'Nine Lines' layers various patterns in a classy exercise of dancefloor tension building, with an undoubtedly in-the-moment feeling evidencing Polito's live show foundations. Across the board the group showcase their mastering of a kind of addition/subtraction push and pull, but the varying influences in sound design provide an extra layer of depth to the whole thing and cement the Polito brand. On both 'Inside The Sphere' and 'The Sphere Is Collapsing', the dreamier, more reflective edges of 90s IDM are given a nod and these two strike as up there with the best on the album. Head for 'Mercado Waltz' for a super interesting fusion of loopy techno and modular dubstep.
Polito is a collaboration between musicians Robert Downie and Finnian Langham, and dancers Arabella Frahn-Starkie and Hillary Goldsmith.
The elusive Hackney basement dweller Alpha Delta colloquially known as Alpha D drops his debutsingle “The Moat” as the very first 12” output on the mysterious new hybrid Berlin++Sydney based label Delphic Iris Records. The headline single inspired by a faithful rave session in Croatia whereAlpha D was simultaneously emotionally touched, scarred and sonically pummelled by kick drums ata wild and stormy Dimensions Festival.
This dark techno beast was the aggressive, distorted acid offspring of that faithful night ravingbetween the mud and tears of the crowd at the formidable Moat stage at Punta Christo. His OG Mixis classic 132bpm heavy pounding acid techno at its moodiest. In the Remix department we have support from the entire Delphic Iris Records crew on this one. Afitting introduction to the labels sound. Sydney based Drox of Analog Cabin fame has a low end electro bass bin rattler for us that delvesinto melancholic and psychedelic 303 territory, deep, minimal and functional a perfect mid setgroover in our opinion. Critical Automator takes us on a deep and elegant techno journey transcending both murky seasand lush hazy skies in his dub mix. Definitely dialled back from the OG mix but there is no shortage ofkick drum energy in this one. 16 Faces cooks up complex drum work and funk driven baselines in a hybrid 146 bpm number that’sa just a touch rave, grime and idm in his 5am mix. The off beat stabs and euphoric strings areplentiful, more than enough to get your through any wobbly kneed sunrise.
My Light, My World is a gorgeously slammin’ four track release by Brooklyn-based Ryan Clover on Eris Drew’s Ecstatic Editions imprint. We fell in love with Ryan’s music as we wore out the grooves on his killer 12 inch for ARTS. The tracks featured on My Light, My World are a perfect fit for Ecstatic Editions because, much like Eris’s sets, the tracks are beautiful musically and genuinely emotional, but they also seriously slap and translate powerfully on large sound systems. It is hard to find Big Room records with so much heart, so the label jumped to sign the tracks and prepare the project for release.
Clover’s arrangements on the EP unfold in truly magical and unexpected ways with buildups giving way to gorgeous musical passages. “We Love (We Feel)” is a heartfelt instrumental which sets the tone for the record, while the title tune “My Light, My World” declares boldly “ITS ON!” before heeding to woozy chords and a sax riff that sounds amazing in the mix. Flip the record over for “Here We F***ing Go!” which is a total boast track for deck players but doesn’t lose its sweetness in the process, and the powerfully fun closer “Let Me Tell U Sumthin’” which reminds sweaty dancefloors that “Love Is Special.” Ecstatic Editions hopes you’ll put your needle in the groove and dance hard to one of the season’s sweetest bangers.
The EP features original art by Karina A. Linares and mastering by Trutone legend Carl Rowatti.
From the intricate fictional details packed into the cover art (cocreated by Palomo and designer Robert Beatty), to the lyrical collage
of pop culture and political references, to the music’s early-digital
sheen, the album evokes the 80s golden age of rock stars like Bryan
Ferry and Sting leaving their own breakthrough projects to strike out
as jazzy solo musicians. It’s parody, sure - of rock star ego trips, the
mall-ification of America, and our own self-obsession, even on the
brink of apocalypse - but it’s also dead serious, the sound of history
repeating itself as the Doomsday Clock clicks past its Reagan-era
maximum and nuclear anxiety comes back into style along with digital
synthesizers and sax solos. The deeper it pulls you into its own
uncanny reality, the clearer it becomes how thin the borders are
between Alan Palomo’s ‘World of Hassle’ and our own.
On Rock Island, their second LP, Palm produces evidence of a distinct musical language, developed over time, in isolation, and out of necessity. On the island, melodies are struck on what might be shells or spines. Rhythms are scratched out, swept over, scratched again. Individual instruments, and sometimes entire sections, skip and stutter. There is the sense of a music box with wonky tension or a warped transmission in which all the noise is taken for signal.
Like other groups so acclaimed for their compulsive live show, Palm has been burdened by the constant comparison between their recorded material and their touring set. On Rock Island, they render this tired discussion moot, using the album form to present that which could never be completely live, reserving for performance that which could never be completely reproduced.
Despite appearing behind the instruments typical of rock music, Palm trades in sounds of their own making. On these songs, one of the guitars and the drum kit are used as MIDI triggers, producing an index that can be combed through later and replaced with new information. The percussion is sometimes augmented so as to suggest a multiplication of limbs. The strings are manipulated to choke, crack, and hum like other instruments, or other bodies, might.
Working again with engineer Matt Labozza, the band spent the better part of a month in a rented farmhouse in Upstate New York. With the benefits of time and space, Palm recorded the various elements piecemeal, only rarely playing together in groups larger than two or three. While some members tracked, others holed up in the next room, experimenting with quantization, beat replacement, and other methods borrowed from electronic music. Even accounting for the many labors that brought them to be, these materials seem produced by an organic logic. Their complex friction forms a habit of thought, scores a network of grooves on the floor of the mind.
This is music with dimensionality. Sonic objects are deployed, developed, and dissected in various states of mutation. The listener flits about between the field and the lab. The tone is warm in a way only the sun could make, the pace as forceful and as variable as a gale. Whether one locates Rock Island in a sea or in a refinished attic (as in Greg Burak's album cover), whether one escapes to there or is banished, its psychic environs are charted clearly enough. Only at this remove from the mainland can we sense the conditions necessary for such a strange species of sound.
2023 Repress
Millennial dream boy Gen-Y and his twisted takes on everything! With his roots in Iran, hailing from Berlin he goes deep in, mixing up styles like Kanye mixes up opinions. On this follow-up Ep to the critically acclaimed Saturn Flow Ep from 2021, he keeps it funky and upbeat! On the opener Dreamboy, he collabs with Estonian singer Maryn E. Coote and takes the dancers on a smooth ride with a touch of 80's proto-house, electronic funk sound and vocals from Maryn's original version. River of Light and Time Of Death are proper flowing electro-funkers while Type 0.7 and Rari Jack ft. DJ Ebhardy are proper jackin Dj favorites! Closer Kirby Step takes the term 'funky acid' to another level. When you make tunes that are this cool there is no need to stick to one style... just enjoy what the universe transmits to the ether and vibe along!
black 2x12"[27,94 €]
An evolved, ecosystemic love expression of Carlos Niño"s self-described "Spiritual, Improvisational, Space, Collage" expression - (I"m just) Chillin", on Fire is the prolific percussionist/producer"s most singular, intentional work ever, featuring a vibrant and abundant gathering of his "friends" (i.e. the highly skilled and accomplished musicians and improvisers that make up Niño"s extensive network of collaborators)
Das von Cory Hanson (Drag City, Wand, Ty Segal) produzierte vierte Album der amerikanischen Rockband aus Nashville, TN um Singer-Songwriter Joe Firstman ist ein zeitloses Set aus freigeistigem, temperamentvollem Country-Rock, das sich auf Fragmente verschiedener amerikanischer und klassischer Traditionen stützt - von The Grateful Dead bis Marcel Proust -, und so erfrischend wie eine Sommerbrise, die durch die Palmen weht.
- Col. LP: (Turquoise Transparent Vinyl)
Nonesuch releases Sorry I Haven’t Called, the new album by Vagabon, the moniker of Lætitia Tamko. Co-produced by Tamko and Rostam (Vampire Weekend, Haim, Clairo), it finds Tamko reinventing herself once again and features the most playful and adventurous music of her career, as evidenced by its lead track and opening song ‘Can I Talk My Shit?’. Vagabon has also announced an autumn tour that includes a headline run in the US, as well as European dates with Weyes Blood.
“I didn’t feel like being introspective,” says Tamko of her new album. “I just wanted to have fun.” Following her intimate 2017 debut Infinite Worlds, the New York artist favoured expansive and evocative electronic textures in her breakthrough 2019 self-titled follow-up. But her latest album feels like a wholly new era for Tamko, one that’s transformational and uncompromising. Across 12 vibrant tracks she wrote and produced primarily in Germany, she channels dance music and effervescent pop through her own confident sensibilities. These conversational songs are alive and unselfconscious, a document of an artist fully embracing her vision and reclaiming her joy.
The first words she sings on the album are, “Can I talk my shit? / I got way too high for this.” It’s a statement of purpose for the rest of the album that this is an unapologetic artist. “This whole record is how I talk to my friends and how to talk to my lovers,” says Tamko. “I think honesty and conversational songwriting can become poetry. There’s beauty in plainly speaking without metaphors and without flowery imagery.”
The story of Sorry I Haven’t Called started in grief after Tamko’s best friend died in 2021. This devastating and unexpected loss unmoored Tamko but also gave her a newfound clarity. “The things that I thought I cared about, I no longer cared about,” she says. “I had a realization that I need to make sure to feel everything that comes my way.” She decided to sell her things and move to a small lakeside village a few hours north of Hamburg in northern Germany to process everything. “There's no linear path to grief, and everyone handles it differently, but uprooting my life just felt like exactly what I had to do,” says Tamko. “I needed a place to think and go through my discomfort privately but to also explore the newness and urgency I was feeling in my life.” In the village, her phone didn’t work and there were no close grocery stores or restaurants, so she spent her time alone working on music.
Despite the palpable absence in her life, her new songs were her most disarming and ebullient yet. The first one she wrote was ‘Carpenter’, a mesmerizing track anchored by a tangible bass groove, where she sings, “I wasn’t ready to move on out / but I'm more ready now.” It’s a fully-realised track and feels like the culmination of her catalogue so far. “A lot of the music that I was making there had nothing to do with my grief at all,” says Tamko. “Once I gave myself permission to make a record that's full of life and energy, I realized that’s the point of this album. In the midst of going through all of these tough things, it became a record because of the vitality that these songs had.” For Tamko, there’s power in pursuing happiness.
While writing in Germany, Tamko nurtured her love for dance music and let it seep into her new songs. “The only things that were giving me access to a feeling were dance music and going to a rave in an extremely dark club where if I wanted to cry, I could do it and be around other people,” she says.
After a few months in Germany that included marathon writing sessions and a whirlwind romance, Tamko decided to stay with friends in Los Angeles and finish her record. She enlisted co-producer Rostam to help her unify her vision.
Sorry I Haven’t Called is a warm and resilient album about embracing the ecstatic moments wherever you can by knowing how you love and how you mourn. It’s an album born of both communal dancefloor revelations and the clarifying peace from solitude, an emotional rebirth as well as an artistic one. “This record feels like what I've been working towards,” says Tamko. “When I think of this album, I think of playfulness. It's completely euphoric. It's because things were dark that this record is so full of life and energy. It’s a reaction to what I was experiencing at the time, not a document of it.”
BOTANICA is the newly established Japanese label created by DJ/ Producer, Iori Wakasa. It was formed for him to utilize it as a foundation for the realization of his own unique, artistic expression.
And now, he has the pleasure to announce his label’s inaugural title with the release of his own BOTANICA EP.
Born in 1988 in a rural Japanese city surrounded by mountains and the sea with a mild climate, Iori grew up playing RPGs with a father who was a devoted game aficionado. And he was introduced to electronic music through game music from an early age and formed his musical sensibilities through playing the classical piano around the same time.
Influenced by the spirituality and idiosyncrasies of punk rock and ethnic and indigenous music in his youth, also gradually influenced by the Tokyo club scene and the music, it didn't take him long before
he made the choice to start DJing at the age of 17 and soon afterwards, started exploring the path of music production as a form of self-expression.
Iori set up Botanica to convey 2 main concepts of 'presenting music that provides each listener with their own viewpoint' and ‘to construct a fusion between 'nature' and 'man-made objects and human
activity’. Through the experience of traveling around Japan, Europe and Asia and connecting with people of different languages and cultures, he became to appreciate that music transcends all languages and grooves, and the framework in which he would like to shape his perspective and embody it as his way of life is what he envisions as the vital expression for BOTANICA, The two tracks and the artwork included in this first EP are the first steps towards hopefully chronicling the story of the vortex that he resides in now and the new forest that he plans to weave in the future with his label.
'The Pure Land' means in Japanese 'Gokuraku-Jodo (= a space where you can live in bliss)', but in English it is closer to 'utopia' or 'paradise'. However, 'The Pure Land' is a musical work that evokes a
hypnotic and pleasant euphoria through the gradual layering of multiple rhythms and soft particles of spatial sound design. It is also shaped with the aim of liberating the listener and guiding them towards their primal self.
In contrast, 'Lunar Down' expresses the changes that occur in the human state of mind during the extended period from moonrise to moonset especially when the moon sets from its zenith and is completed with a focus on maximum dance floor impact via an inner voice that resonates in the brain that echoes throughout a well-textured bass line and rhythm track.
The artwork for the front cover of this EP was created by SHINOZAKI HILOSHI, an illustrator who has been traveling and painting to express his true way of life that he learnt in the 10+ years of commuting between Tokyo (the end) and the Hawaii Islands (the beginning), and the graphic designer hiro, who stands by Iori`s side as his life partner and as the person who understands him the best. Iori`s first steps are complemented by the label design and art direction by graphic designer hiro, who stands by his side as his life partner and most understanding partner, and the proof is the physical cut, which is presented as the foundation for the future.
Woods are in bloom again, inviting you to disappear into a new spectrum of colors and sounds and dreams on Perennial. Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, Perennial is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves. Perennial grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s Strange To Explain. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks. The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel. Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges. For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound. Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do. Jesse Jarnow Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals John Andrews - piano, organs, mellotron, drums, vocals Connor Gallaher - Pedal Steel Kyle Forester - sax, wurlitzer
Volume 1[23,49 €]
Every once in a while, a library record's absurd level of perfection will be enough to throw up your hands and pack it all in. "How will I ever find this record in the wild?!", you may despair. And, yes, up until now, Michel Gonet's Phasing News Volume 2 was such a work of this ridiculous standard. Not just hyper-rare, but hyper-brilliant. Its high points transcend the "library" genre. This is a record that has always been so so hot on secondary markets. And it's easy to hear why! It's a big big French library classic with mad crazy demand.
Opening with "Mondial Scoop (Number III)", it continues on from where the dramatic tracks of Phasing News Volume 1 left off. The group of "Phasing Percussions" get under your skin, sample material for days here. "Phasing Leitmotive A" and "Phasing Leitmotive B" hypnotise with their analogue synth loops. Yet it's "Phasing March", closing out the side, that is absolutely sensational. Timpani drums merge with open breaks making for an irresistible neck-snapping tour de force.
Side B starts with "Devil Dance A", an unbelievably infectious bass instrumental whilst "Devil Dance B" adds more percussion and bass flourishes and is all the more funky for it.
And now for the main event. "Flower Dance A". What can we even say? An instantly captivating, sparkling keys loop and glittering percussion neatly arranged atop a very strong bassline and drums, all lean and potent. The melody was lifted wholesale by The Soulsavers for "Rumblefish" back in 2002 and you can't really blame them. "Flower Dance B" removes the bassline for a lighter feel but that loop still burrows inside your brain. It's perfect.
"Happy Smith (Number II)" was used by Madlib for Erykah's "My People" (!!!) whilst the set closes out with a group of tense, phased workouts.
The audio for Phasing News Volume 2 has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
Four Framed Music proudly welcomes the Italian deep house master, DJ Soch (AKA the Italian Stallion), to the label with an outstanding new EP titled ‘Speaking of House. The release includes four amazing deep house cuts that flawlessly merge the old school sound with DJ Soch’s own unique style.
He effortlessly transports you on a deep journey through his music, where the melodies themselves become the voice. Simply listen and let the music speak for itself.
Der aus Seattle stammende Produzent Jeff McIlwain, alias Lusine, kehrt mit seinem 9. Album Long Light zurück und feiert damit sein zwanzigjähriges Bestehen bei Ghostly International. Lusine, der als Einfluss für unzählige elektronische Künstler wie die Londoner Loraine James und andere gilt, ist bekannt für viszerale, kinetisch neugierige Musik, die Techno, Pop und experimentelle Kompositionen miteinander verbindet. In den letzten Jahren hat McIlwain sein Handwerk mit mehr kollaborativer, songorientierter Arbeit in die Höhe getrieben. Long Light" zeigt die durchgehende Linie; seine charakteristischen Looping-Muster und Texturen sind dynamisch und dennoch minimalistisch wie immer. Strukturell geradlinig, straff und hell, strahlt das Material als das direkteste in seinem Katalog, mit Gesangsbeiträgen von Asy Saavedra, Sarah Jaffe und den Sensorimotor-Kollegen Vilja Larjosto und Benoît Pioulard. Lusine hat seinen Sound schon früh gefunden, aber er hat nie aufgehört, an seinem Potenzial zu feilen, geduldig die Ablenkungen zu dekonstruieren und die Rätsel zu lösen. Mit Long Light erreicht ein prozessgeleiteter Künstler ein außergewöhnlich erfreuliches Niveau an Klarheit und Unmittelbarkeit. McIlwain sieht den Titel, der der lyrischen Phrase "long light signaling the fall again" entnommen ist, die Benoît Pioulard für das spätere Titelstück geschrieben hat, als einen Leitfaden, der mehrere Bedeutungen widerspiegelt. "Es gibt diese Art von Paranoia, bei der man nicht weiß, was real ist, es ist ein Zeitalter der großen Angst und es gibt all diese Ablenkungen", erklärt McIlwain. "Es ist wie ein Spiegelkabinett." Dem langen Licht zu folgen ist der einzig wahre Weg, und diese Metapher wendet er auf die Aufnahmen des Albums an, die ebenfalls einen zyklischen Charakter haben, ähnlich wie die Jahreszeiten. Wie der Beginn des Herbstes schließt das Album eine Periode der Kultivierung ab; "Musikmachen ist ein Kampf und man muss eine Menge Geduld haben." Long Light ist der Beweis dafür, dass das, was jenseits des Lärms, am Ende des figurativen Tunnels liegt, all die Arbeit wert ist, die man auf dem Weg dorthin geleistet hat. In der gesamten Sammlung identifiziert McIlwain das zentrale Klangelement, einen Gesangsausschnitt oder eine einfache Beatsequenz, auf dem alles andere aufbaut. Auf dem Opener Come And Go" vervielfältigt er eine Gesangseinlage seiner langjährigen Mitarbeiterin Vilja Larjosto zu einem himmlischen Chor, der an den Sensorimotor-Hit Just A Cloud" erinnert. Es ist die Bass-Hook auf der Single "Zero to Sixty", die sich um die Stimme von Sarah Jaffe windet, deren geschmeidiger Tonumfang und coole Darbietung die Quelle für Lusines unverwechselbares Mapping ist.
Der aus Seattle stammende Produzent Jeff McIlwain, alias Lusine, kehrt mit seinem 9. Album Long Light zurück und feiert damit sein zwanzigjähriges Bestehen bei Ghostly International. Lusine, der als Einfluss für unzählige elektronische Künstler wie die Londoner Loraine James und andere gilt, ist bekannt für viszerale, kinetisch neugierige Musik, die Techno, Pop und experimentelle Kompositionen miteinander verbindet. In den letzten Jahren hat McIlwain sein Handwerk mit mehr kollaborativer, songorientierter Arbeit in die Höhe getrieben. Long Light" zeigt die durchgehende Linie; seine charakteristischen Looping-Muster und Texturen sind dynamisch und dennoch minimalistisch wie immer. Strukturell geradlinig, straff und hell, strahlt das Material als das direkteste in seinem Katalog, mit Gesangsbeiträgen von Asy Saavedra, Sarah Jaffe und den Sensorimotor-Kollegen Vilja Larjosto und Benoît Pioulard. Lusine hat seinen Sound schon früh gefunden, aber er hat nie aufgehört, an seinem Potenzial zu feilen, geduldig die Ablenkungen zu dekonstruieren und die Rätsel zu lösen. Mit Long Light erreicht ein prozessgeleiteter Künstler ein außergewöhnlich erfreuliches Niveau an Klarheit und Unmittelbarkeit. McIlwain sieht den Titel, der der lyrischen Phrase "long light signaling the fall again" entnommen ist, die Benoît Pioulard für das spätere Titelstück geschrieben hat, als einen Leitfaden, der mehrere Bedeutungen widerspiegelt. "Es gibt diese Art von Paranoia, bei der man nicht weiß, was real ist, es ist ein Zeitalter der großen Angst und es gibt all diese Ablenkungen", erklärt McIlwain. "Es ist wie ein Spiegelkabinett." Dem langen Licht zu folgen ist der einzig wahre Weg, und diese Metapher wendet er auf die Aufnahmen des Albums an, die ebenfalls einen zyklischen Charakter haben, ähnlich wie die Jahreszeiten. Wie der Beginn des Herbstes schließt das Album eine Periode der Kultivierung ab; "Musikmachen ist ein Kampf und man muss eine Menge Geduld haben." Long Light ist der Beweis dafür, dass das, was jenseits des Lärms, am Ende des figurativen Tunnels liegt, all die Arbeit wert ist, die man auf dem Weg dorthin geleistet hat. In der gesamten Sammlung identifiziert McIlwain das zentrale Klangelement, einen Gesangsausschnitt oder eine einfache Beatsequenz, auf dem alles andere aufbaut. Auf dem Opener Come And Go" vervielfältigt er eine Gesangseinlage seiner langjährigen Mitarbeiterin Vilja Larjosto zu einem himmlischen Chor, der an den Sensorimotor-Hit Just A Cloud" erinnert. Es ist die Bass-Hook auf der Single "Zero to Sixty", die sich um die Stimme von Sarah Jaffe windet, deren geschmeidiger Tonumfang und coole Darbietung die Quelle für Lusines unverwechselbares Mapping ist.
Black Vinyl[28,53 €]
High Roller Records, reissue 2023, Bi-Color Vinyl, 425gsm heavy cardboard cover with 5mm spine, 8 page booklet, poster, A5 photo card, Transfer, mastering and audio restoration by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2022. Cutting by SST Germany on Neumann machines for optimal quality on all levels
High Roller Records, reissue 2023, black vinyl, ltd 400, 425gsm heavy cardboard cover with 5mm spine, 8 page booklet, poster, A5 photo card, Transfer, mastering and audio restoration by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2022. Cutting by SST Germany on Neumann machines for optimal quality on all levels
High Roller Records, reissue 2023, blue vinyl, ltd 450, 425gsm heavy cardboard cover with 5mm spine, 8 page booklet, poster, A5 photo card, Transfer, mastering and audio restoration by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2022. Cutting by SST Germany on Neumann machines for optimal quality on all levels
High Roller Records, reissue 2023, black vinyl, ltd 400, 425gsm heavy cardboard cover with 5mm spine, 8 page booklet, poster, A5 photo card, Transfer, mastering and audio restoration by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2022. Cutting by SST Germany on Neumann machines for optimal quality on all levels
High Roller Records, reissue 2023, black vinyl, ltd 400, 425gsm heavy cardboard cover with 5mm spine, 8 page booklet, poster, A5 photo card, Transfer, mastering and audio restoration by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2022. Cutting by SST Germany on Neumann machines for optimal quality on all levels
High Roller Records, reissue 2023, black vinyl, ltd 400, 425gsm heavy cardboard cover with 5mm spine, 8 page booklet, poster, A5 photo card, Transfer, mastering and audio restoration by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2022. Cutting by SST Germany on Neumann machines for optimal quality on all levels
High Roller Records, reissue 2023, yellow vinyl, ltd 400, 425gsm heavy cardboard cover with 5mm spine, 8 page booklet, poster, A5 photo card, Transfer, mastering and audio restoration by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2022. Cutting by SST Germany on Neumann machines for optimal quality on all levels
ORKA is a duo comprising Francine Perry from London and Jens L. Thomsen from the Faroe Islands. They crossed paths in the vibrant club scene of London, an immersive world that had a profound impact on their creative journey. ORKA's music draws inspiration from the Hardcore Continuum and UK sound system culture, blending it with elements of minimal techno, progressive electro, and ambient music, resulting in a diverse range of stylistic influences. Now ORKA emerges with their long-awaited new album. Once again, they greet us with their distinct blend of earthy tones and a bold, adventurous spirit, taking us to a realm bursting with neon-lit hues, pulsating club beats, and an abundance of sensory stimulation. Aptly named "All At Once," the album title provides a clue to the auditory and sensory experience that awaits the listener in this immersive record. ORKA has continuously evolved as a project over many years and iterations, embracing fluidity and a relentless quest for fresh sonic amalgamations. Their journey has been marked by a gradual refinement, stripping away layers to reach the core essentials. This transformative process has unfolded over the years, reaching from their site-specific, cowshed sampling and band-based expedition in "Livandi oyða" (2007) to the bold, innovative exploration of minimalist techno in "Vað" (2016). However, their latest release, "All At Once," signifies yet another remarkable leap forward in their artistic evolution. The seeds of this artistic progression were already planted in previous releases like the <13 EP (2017) and the hard-hitting techno single "Juno" (2018). However, it is with the arrival of the album "All At Once" that ORKA's vision fully blossoms, unveiling a vivid and expansive sonic landscape. This latest offering presents a glorious and vibrant tapestry, showcasing a maximalist approach to techno that pulsates with energy coupled with their signature meticulous attention to sound design, reflecting a deep awareness and intentionality in their creative process. If this album was to be thought of as a place, it would be a shimmering, futuristic, buzzing kind of city with vibrating night-time drizzle from above and endless glowing lights in the distance. Several of the tracks are built around cut-up vocal samples that are divided from their semiotic meanings and reconfigured as loops, and thus mined for their timbral and percussive qualities. Recurring collaborators South London duo LV (Hyperdub, Keysound, Brownswood) are featured on a handful of these tracks, mixing in their complex cocktail of grime and bliss. The result is a sort of queer erotic dance-floor mysticism, and the closest to a full-blown dance record that ORKA have ever made. There must be a club in that shimmering futurist city of the night.. and it is a collective, inclusive and alluring place. There is no need to fear any dancefloor exhaustion by listening to this album though, as there are also moments of floating cyber beauty and pure enveloping warmth to be found among its tracks. As always, following the artistic journey of ORKA is a joyous experience, filled with unexpected twists and turns that keep us captivated.
Stevie Ray Vaughan's third studio album Soul To Soul was released in 1985, just two years after his massive debut Texas Flood. Moving more into a soulful R&B-tinged blues sound, Stevie included two new band members on keyboard and saxophone for Soul To Soul. The band know their way around a number of cover versions of songs penned by Hank Ballard, Doyle Bramhall, and Willie Dixon, bringing a variety of influences into SRV's brand of modern blues. His own compositions such as “Say What”, “Ain't Gone 'N' Give Up On Love” and “Life Without You” reveal an artist that is ever passionate in delivering real blues, and growing in his songwriting at the same time.
ENG Dark, atmospheric heavy Americana from Austin, TX, haunting, psychedelic ghost-town sounds for fans of Woven Hand, Russian Circles, and Dead Meadow! Lord Buffalo is a mud-folk band from Austin, TX. They make music together under cover of darkness. Their songs are bricks with which to build a house slowly. They will not be rushed. They will not be quiet. They are the trees clapping, the rocks crying out, the whistle in your snore. Imagine the haunted sensibility of artists like Chelsea Wolfe, David Eugene Edwards (Woven Hand, 16 Horsepower) and Ian Astbury (The Cult) fused with the spacious, expansive psychedelics of Dead Meadow and All Them Witches. Lord Buffalo creates somber, crashy, ghost-town Americana on new album "Tohu Wa Bohu," thick with captivating intensity and brooding heaviness of the soul. 'The sound of Lord Buffalo - that atmospheric diving headlong into the very heart of darkness - is unsettling. And it's magnificent.' _Laurie Gallardo, KUTX Brand new 2023 pressing on sleek transparent coke bottle-green vinyl!
Slade waren in den siebziger Jahren unaufhaltsam und wurden zu einer der größten Bands Europas. Sie veröffentlichten sechs Hit-Alben, darunter drei britische Nr. 1-Hits und 17 aufeinanderfolgende Top-20-Singles, ihre Hits sind ein Synonym für die Glam-Ära. Slades
Debütalbum "Beginnings" wird zum ersten Mal als Mediabook veröffentlicht und enthält die Hits "Genesis", "Pity The Mother" und "Born To Be Wild". Zudem erhältlich als LP in Transparent Yellow & Orange Splatter Vinyl.
After 1976’s Contraband, Golden Earring continued in a straightforward hard rock direction on Grab It For A Second (1978). Working with legendary producer Jimmy Iovine (U2, Bruce Springsteen, Tom Petty & the Heartbreakers, Stevie Nicks, Dire Straits, Patti Smith), this was the band’s final album featuring guitarist Eelco Gelling.
This 45th anniversary edition of Grab It For A Second is remastered for the first time from the original master tapes and features the bonus track “I Can’t Talk Now” (B-side of the Movin’ Down Life 7-inch single). It is available as a limited edition of 1500 individually numbered copies on translucent yellow coloured vinyl.
DJ Python’s Worldwide Unlimited return with a trio of giddy-up garage screwballs by BFTT of the Mutualism cohort.
’THP’ hails BFTT’s transition from one party city, Leeds, to another, Manchester, in the post-lockdown euphoria when everyone was dusting off their dancing clogs. He hadn’t made club music during the pandemic, but got right back on it that summer, chiselling signature production details into a trio of restive swingers and buoyant steppers explicitly built for the party.
‘THP’ trains his energies into an itchy switch of Yorkshire garage-techno-donk aerated with feathered dub chords and percolated percussion. ‘Keeplies’ more loosely dances on the offbeat complete with unstable, grinding subs whisked into a dipping UKG lather like Pangaea meets early Aya, and ‘Seems’ picks up your trotters on a ruggedly warped speed garage tilt, all melting Moschino logos and acid-spiked fizz bound for peak times.
Woods are in bloom again, inviting you to disappear into a new spectrum of colors and sounds and dreams on Perennial. Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, Perennial is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves. Perennial grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s Strange To Explain. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks. The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel. Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges. For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound. Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do. Jesse Jarnow Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals John Andrews - piano, organs, mellotron, drums, vocals Connor Gallaher - Pedal Steel Kyle Forester - sax, wurlitzer
Die preisgekrönte, mehrfach mit Platin ausgezeichnete Band Thirty Seconds To Mars, bestehend aus den Brüdern Jared und Shannon Leto, veröffentlichen am 15.09. das mit Spannung erwartete sechste Studioalbum ”It’s The End Of The World But It’s A Beautiful Day”.
Mit ihrem Album betritt die Band neues klangliches Terrain, mit straff arrangierten, prägnanten Songs, die sich auf gefühlvollen, direkt aus dem Herzen kommenden Gesang konzentrieren. Die 11 Songs des Albums erforschen ein neues Kapitel der Gefühle der Brüder, während sie Trost in den elementaren Dingen finden:
Liebe, das Ergreifen des Augenblicks, Herzschmerz und letztendlich Transzendenz. Besonders herausragend ist die 1.Radiosingle ”Stuck”, wie auch die zweite Radiosingle ”Seasons”.
Anfang des Monats war die Band Headliner bei zwei ausverkauften offziellen Lollapalooza Aftershows im Chicagoer House of Blues, wo sie den IG ”Seasons” erstmals vorstellten. Außerdem kehrte die Band zum ersten Mal seit 2006 auf die Hauptbühne des Festivals zurück, die mit Spannung erwartet wurde. Forbes bezeichnete ihren Auftritt als ”visuelles Spektakel” mit ”einem Auftritt, der schwer zu toppen sein wird”, in Anspielung auf Jareds Sprung vom Dach der Bühne zu Beginn des Sets.
Auch für Deutschland ist eine grosse Tour geplant für Anfang 2024, das announcment folgt am 08.09.!
Bachs Musik wird oft als unzerstörbar beschrieben, in dem Sinne, dass ihr essentieller Geist immer erhalten bleibt, ganz gleich, wie oder in welchem Arrangement sie aufgeführt wird. Daher sind Transkriptionen der Werke des Meisters heute ebenso üblich wie zu Bachs Zeiten – und auch Bach (1685-1750) selbst war ein leidenschaftlicher Transkribent seiner eigenen Musik und der anderer Komponisten. Diese neue Aufnahme präsentiert Instrumentalwerke von Bach, die für die moderne Gitarre transkribiert und auf ihr gespielt werden, darunter viele berühmte und beliebte Kompositionen: „Air" (aus der Orchestersuite Nr. 3), „Chaconne" (für Violine solo), „Jesu", „Meine Freude", „Sicilienne" (Original für Flöte und Cembalo), „Aria" (aus den GoldbergVariationen) und viele weitere.
'Drummer Roy Haynes swings as the leader of this 1962 Impulse! session, featuring A-list jazzmen Roland Kirk (multiple instruments including stritch and nose flute!), Tommy Flanagan (piano) and Henry Grimes (bass). Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.
Proxima is back with a new reissue by Stockholm-based producer Peter Benisch, better known as Harmon Eyes. Originally released in 1994, 'Iodine Sky' displays various shades of techno and trance for a unique transdimensional journey. It includes a fresh rework by Audrey Danza. All tracks are freshly remastered. A hypnotic masterpiece!
In 2015, Cico Beck ( Joasihno, Aloa Input, the Notwist ) and Markus Acher ( the Notwist, Tied & Tickled Trio, Rayon ) started the project "You + Your D.Metal Friend" as a collective for improvisations and ideas apart from their other bands.
They will experiment with different settings and instrumentations and will collaborate with other artists for the music and the cover-artwork.
For "Sonnier", their first recordings, Cico and Markus started with percussion instruments from around the globe, analogue synthesizers and all kinds of acoustic and electronic devices to layer music that sounds like the memory of Gamelan, Italian library-records and minimal electronic experimentation... music, they listened to a lot before recording.
"Sonnier" will be available on vinyl (incl. download-code), limited to 300 for the world, and will not be repressed. Packaged in heavy-cardboard-LP-covers from second-hand records, they collected from their local record-stores with a screen-printed and numbered artwork glued on it. Designed by Richard Greenan from kit-records, London, and printed by Senor Burns (Red Can). Each cover is unique and hand numbered.
Black Vinyl[38,03 €]
IF THERE WAS A PLACE WHERE FINO ALL THE BEST EROTIC MUSIC, WHAT ELSE COULD IlBE IF NOT AN "EROTEQUE" ? WELL DEAR FRIENDS, HERE WE HAVE A FANTASTIC DOUBLE VINYL THAT CONTAINS EXACTLY THAT MOOD, WITH A SELECTION OF 15 SONGS THAT WAS CERTAINLY NOT MADE BY CHANCE, BUT WITH A REFINED SELECTION OF COLLECTABLE SONGS.
Fortunea Records continues its release schedule of 2023 with the 4th edition of their VA-series ‚Fortunea Cookies‘ to highlight the status quo in Austrian house music.
A band that is generating buzz in this country right now is Spitting Ibex. Their music is a mixture of funk and heavy rock, in the style of Red Hot Chili Peppers, Prince and Rage Against The Machine. Currently they are touring with their brand-new album ‚E.G.O.‘ through Europe and Peletronic had the honor to remix the title-track of their
previous record ‚Love Hate Fear Fate‘. In this ‚Disko Miks’ he transforms the song into a driving house weapon.
In 2021 Nick Hanzo released his ‚Candy Places‘ EP. And on this record was a memorable abstract lo-fi house track called ‚Saturn Nate’ that gets on FC4 a treatment by Klaus Benedek. In this new version he accelerates the speed and focuses even more on the aspect of space travel with the addition of sound fx, pads, pianos and a Italo disco-inspired baseline.
Of course this release has not only remixes of previous tracks, but also 2 originals!
The B-side features Dzc. again with her ‚Expressions‘ of night culture. Caution! This will catapult the crowd up to new heights. An energetic peak-time tune that delves deep into 90s house and trance sonic images.
And finally Markus Quittner returns from Linz and brought his ‚Game‘ to the table. A board full of bouncing dices, strong drum patterns and funky orchestrations. A pleasure for the ears.
Fortunea Cookies Vol. 4 will come out this summer on white limited vinyl. Don’t sleep on this!
"Pavement is in transition here-CRCR is a California album recorded on 32nd Street and Ninth Avenue in Manhattan...It"s the sound of a great band gaining ambition, confidence, ability." - Joe Levy, Village Voice "An album electric with carefree swagger and ageless amplification" - Billboard "A masterpiece, a record that continues to glimmer with unique brilliance two decades after its release" - Stereogum
2023 Repress
Bronky Frumu Rehand Despite all the collaborations on last year's Amygdala by Pampa cult leader DJ Koze, there was still one recurring comment from the public: The album still had DJ Koze's trademark stamp all over it. That is why have been taking the proper steps to rectify this problem, offering a remix series, to further disassociate DJ Koze from this otherwise respectable assortment of songs. Here is the second installment. First up is Roman Flügel, co-founder of the legendary label powerhouse Ongaku/Klang/Playhouse, not to mention his more recent releases on Clone and Live At Robert Johnson. We have no idea what kind of app he used, but somehow he transformed the title track 'Amygdala' from a laid-back, wind-chiming electro-pop number into a clock-working tech-house fairy tale. Roman wisely and tastefully retains the original guest spot from Milosh (of the duo Rhye), offering a grittier backdrop for his lulling vocal delivery. Next comes Robag Whrume, who is no stranger to any Pampa fan, having released an album and a mix CD with us, aside from his countless other works. Here he has taken the pleasant puffiness of DJ Koze's 'Nices Wölkchen' and incubated it in a deep house cocoon. The witch-shifted voice of guest singer Apparat is given a new life, hovering amidst a mesmerizing mechanical groove. As always, there's nothing formulaic about Robag's formula as he serves up little moments of magic.
“Can’t Slow Down“ was originally released in 2009, 15 years after Foreigner’s previous studio album. It marked the Melodic Rock comeback of the year; praised by fans and critics alike. “It was our first studio album with the new lineup and I think it has a tremendous amount of energy in it“, says founding member and lead guitarist Mick Jones. “The title just seemed to sum up the way we were feeling at the time. It captured the fact that Foreigner had become a powerful live band and was ready to take on the world again. I’m happy to say that it drew the attention of Foreigner fans, old and new, and went on to become a chart album in several countries.“ CD1 includes the complete studio album, produced by Mick Jones & Marti Frederiksen (Aerosmith, Ozzy Osbourne, Mötley Crüe) and featuring the song ‘Fool For You Anyway‘, produced by the acclaimed Grammy Award-winning producer Mark Ronson. Exclusive to this 2CD Deluxe Digipak Edition is the second CD „B-Sides And Extra Tracks“ which includes a carefully selected set of Foreigner’s biggest hits as well as beloved fan favourites – all recorded in energetic live versions of which some will be released the first time on CD. This collection istopped of by an exclusive Radio Edit of “Can’t Slow Down“’slead single ‘In Pieces‘. CD2 will also become available as a Strictly Limited Heavyweight Double LP Edition on transparent orange vinyl.
In the early seventies, Joey Gilmore embarked on his musical journey, captivating audiences with a series of unforgettable singles that showcased his raw talent and unique style. It wasn't until 1977 that the culmination of his musical endeavors arrived—the release of his highly anticipated debut record.
This debut album marked a pivotal moment in Joey Gilmore's career, solidifying his reputation as a self-taught guitar virtuoso and soulful singer. The record resonated with listeners, capturing the essence of his artistry and leaving an indelible impact.
Now, after a 45-year wait, the time has finally come for a vinyl reissue of Joey Gilmore's debut album. This reissue is a celebration of his timeless music, meticulously crafted to preserve the authenticity and integrity of the original recording. Every note, every lyric and the original design of the sleeve has been lovingly restored to transport you back to the magic of that era.
Get ready to immerse yourself in the unadulterated funk and soul of Joey Gilmore's music, as this remarkable reissue brings his debut album back to life. Allow the melodies and rhythms to envelop you, taking you on a captivating musical adventure that transcends time. Revisit the magic, rediscover the artistry, and let the music of Joey Gilmore captivate your soul once again.
Originally released on Blue Candle Records in 1977, Steppin' Out by the 13th Floor is a true treasure that deserves a cherished place in the collection of every soul and funk connoisseur. This long-awaited reissue brings back the original magic, preserving the essence and impact it had on the music scene.
Its profound influence on bands like the Red Hot Chili Peppers is undeniable, solidifying its status as an essential gem in the annals of musical history. Now, with this reissue, you have the opportunity to experience the same captivating rhythms and infectious melodies that captivated audiences decades ago.
Are you ready to awaken your boogie spirit and infuse your living room with the long-lost spark of the mid-seventies? Brace yourself for an immersive experience as you surrender to the timeless grooves and soulful vibes that will transport you to a bygone era of musical
enchantment. Allow the music to ignite your soul, reigniting the vibrant energy of the past and instilling in you an irresistible urge to groove like never before.
Perth-based artist hub 823, led by the extraordinary producer / creator Ta-ku joins forces with Berlin's Jakarta Records for the release of Godblesscomputers's fourth full-length LP, "Faded Views." The LP melds bright electronic flourishes with laidback synth-driven backdrops, weaving tapestries of mellow folktronica and groovy jazz harmony with continuous sonic intrigue that will keep you grooving into a tropical disposition. Paying homage to his musical moniker, the Bologna-based producer makes timely metallic interjections amidst lush, effortlessly groovy soundscapes. Explore a world of found, recycled, and synthesized sound on "Faded Views" out everywhere September 8.
Bologna-based producer, DJ, and sound collector Godblesscomputers (122k Spotify listeners) has returned with the release of his fourth full-length record, "Faded Views." Godblesscomputers's latest LP "The Island" (2020, La Tempesta Dischi) earned him placement on Spotify playlists like "Brain Flood" and "Coffee Club." Since then, his appearance on Willie Peyote's track "La colpa al vento" landed GBC on "Best of Indie Italia 2022." On "Faded Views," it was Godblesscomputers's creative project to explore the sonic potentials of his direct environment, picking up recordings and threads of inspiration from the most commonplace occurrences. A sonic scavenger, Godblesscomputers explored the expanses of his-both digital and physical-soundscapes. "Faded Views" does the work of crafting a unified, yet complex compilation of the noises that mark the experience of being digital natives in ever-expanding dimensions.
Godblesscomputers's use of musique concrète and found-sound composition melds curiously with his undeniable electronic and techno acumen. Superimposing metallic electronica onto esoteric sound bytes creates the occasion for complex sound collage. "Faded Views" marks a decade since the genesis of the Godblesscomputers project; the entire LP testifies to how time warps perception and sound. Godblesscomputers's music seems to decorate time, both commemorating the moments passed with mind-melting sonic collages and looking forward to the infinitudes of the future with frenetic electronic experimentation.
Themes of impermanence and transience-hence "Faded Views"-pervade the record. Godblesscomputers blurs time as each track seeps into the next in what feels like a seamless transition. He makes these swift passages in genre as well-the record opens on "Colors" with a rich horn section which frictionlessly becomes a lo-fi dance groove. It is this melding of the analog and the electronic that makes sense of his found approach to beat-making: Godblesscomputers marries the found and the synthesized; the creator and the created; the past and the future. The process of sonic dissection and recomposition that drives much of Godblesscomputers's creative process yields not only assertive breakdowns and animated dance tracks, but also complex tapestries of sound that keep the listener ever-intrigued-piano, saxophone, and modular synthesis all find a natural home on tracks like "Hello." In an apt description, the producer's work has been described as "sounding like wood, metal, and microchip."
Godblesscomputers's artistic objective lies in blurring definitive lines, constantly shifting perspectives, genres, and origins of inspiration. On "Faded Views," this design cultivates a folktronica record that truly evades definition.
Feelgood lead single "Mirrors" is out June 30th and features a rich meld of warbling layers, mixing upbeat dance music with complex instrumentation. Stream second single, "Above the Lake," for a mellow summer cut on July 21. Finally, the effortlessly groovy third single "You Feel Me" captures a genre-warping foray into folktronica. Listen to "You Feel Me" on August 11.
All LP artwork and stunning single visualizers were single-handedly put together by multi-disciplinary designer Michael Norman. "Faded Views" will be available everywhere physically and digitally on September 8, 2023. Be sure to listen for focus track "Hello" that captures the vast scope of Godblesscomputers's musical prowess. Find the LP, CD, and digital release on 823's and Jakarta Records's Bandcamp and local record stores.
For their fourth album, »Bear In Town«, indie avant-pop supergroup Spirit Fest made a virtue of distance, with group members split across Europe, and recording sessions taking place after a brief 2021 tour of Europe. It’s an object lesson in perseverance and commitment, as the music here is some of Spirit Fest’s most moving yet. The six songs on this album illuminate different aspects of the transnational quintet’s character – lovely, heart-rending pop songs; melancholy chants; the joys of simple repetition – with the group’s guitar pop tended by gentle flourishes of piano and electronics.
Some of those flourishes were spirited onto »Bear In Town« across the waves, with Mat Fowler (Bons, Jam Money) contributing from Britain, while the body of the music was recorded in a small apartment studio in Munich by the other members of Spirit Fest: Saya and Ueno (Tenniscoats), Markus Acher (The Notwist) and Cico Beck (Joasinho, Aloa Input). »Bear In Town« is concise and powerful, the infectious joy of the spirit communicated, beautifully, by melodies that balance the heartfelt with the melancholy. Reflecting on those sessions, Acher says, »I think the album captures how well we played together at that time.« It’s all the more impressive given this material was put down live in the studio, with a few vocal overdubs. The depth of feeling at the core of Spirit Fest’s music is evident from the opening notes of »Bear In Town«.
»Kou-Kou Land«, the first song on the album, recalls several earlier Tenniscoats songs, like »Baibaba Bimba«, in the way the musicians weave gentle complexity around a simple, repeated chant; the stop-start structure of »Kou-Kou Land« builds anticipation, while Saya’s simple melody is lovely, delivered in an absent-minded hum that’s deeply affecting. »Lost & Found« revolves around a delightful descending chord change that breaks up the swaying, folksy verses, gorgeous electronic whirrs and purring winds floating through the song. The following »In Our House« possesses such sweet sadness, it’s one of Spirit Fest’s most moving songs yet.
»Like A Plane« repurposes a song that Markus Acher originally wrote and recorded for his solo EP of the same title, released on a 2022 10-inch single on Morr Music. The original was a gentle, introverted lament, but the version on »Bear In Town« has a widescreen tenderness, its melancholy framed by raindrop piano. The album concludes with two moments of playful splendour, the bossa-inflected »Hill Blo«, and the driving title track, both led by Saya, who is in stunning voice on this album; on »Bear In Town«, her awestruck wonder perfectly captures the sense of possibility in the song’s capacious chords. Like the rest of the album, it’s full of kindness, rich with psych-pop splendour… a balm for troubled times.
Die KREATOR Vorläuferband! High Roller Records, 2nd pressing, transparent ultra clear vinyl, ltd 250, insert, Cassette transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in November 2020 / January 2022. Artwork and text restoration and extension by Alexander von Wieding.
Curated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track
compilation album features tracks the pair have played at their peripatetic, Europe wide
events since 2012.
Stretching from the 1970s to the present day the Reference Point compilation spans a whole
range of genres, tempos, languages and grooves where the quality of music is paramount
whether $1.00 bin records or $1000 rarities.
Reference Point, 'a place to hear the music', is a truly trans-global album with music from
Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private
press albums, from artists who have played at Reference Point events and from current
artists such as MF Robots and Caixa Cubo.
Releasing as a CD, digital and a double LP, Reference Point is another essential compilation
from BBE Music and one that belongs in the collection of all collectors and lovers of great
music
Mila Stern's groove-heavy and highly danceable sound explores fringe soundscapes informed by Post-Punk and Electro. What sets her apart is a willingness to embrace unorthodox sounds, explore the beauty in harshness and dissonance, and transform jarring atmospheres into captivating dancefloor moments. With 'Five Finger EP', Mila Stern delivers an eclectic six-tracker featuring two high-pressure originals and four carefully selected reimaginations by Camea, mytripismytrip, Öona Dahl, and Hardt Antoine for Kiosk catalog number 021.
'Five Finger Discount' encapsulates Mila's uncompromising aesthetic: warm, powerful, energetic, and constantly teetering on the brink of disintegration. Morphing, overdriven stabs build energy atop a sub-heavy groove and a sea of pads. A sweeping break fractures the track into shuddering bursts of corroded machinery, before the compact groove returns with punishing dancefloor power.
Camea transforms 'Five Finger Discount' into a heavy-weight techno roller. Shuddering, pitch-shifting bass hits and salvos, sizzling white noise sweeps, and an ominous mantra morph the track into a darkly efficient peak- time banger.
Hardt Antoine builds his rendition of 'Deadline Disco' around an infectiously body-moving arpeggio. Layers of distortion add a searing edge, transforming the original into a stripped powerhouse with Dark Disco undercurrents.
Few artists move on the fringe so comfortably, make unconventional sounds so accessible, or pursue their vision with the same bright-eyed conviction.
With 'Five Finger EP', Mila Stern epitomises the magic that happens when uncommon sounds are embedded in the framework of commanding, floor-focused energy. 'Five Finger EP' embodies her stand-out style and the stunning range of musical interpretations it inspires.
Following on from their critically acclaimed debut album, the second album from Shackleton / Zimpel represents the culmination of the ecstatic trance urge that has underlined both artists work since they embarked on their singular yet somehow parallel paths. The duo, consisting of electronic music maverick Sam Shackleton and visionary avant folk virtuoso Waclaw Zimpel, sees them link up with one of Indian Carnatic music"s greatest emerging young vocal talents, Siddhartha Belmannu, to bring an album which is equal parts both a meditative exercise and an urge to transcendence whilst thematising both the acceptance of our mortality and the joyous celebration of living.
EACH COPY Personally SIGNED BY LEN FAKI
Len Faki has always been a defining character of the techno underground. His unique approach to DJing, the consistent work as a producer and the quality output of his label Figure has all shaped the current environment.
Starting out as a clubber in the 90's, his inspirations have always reached back to the first encounters with electronic music, when new worlds opened and everything seemed possible.
While these experiences have always influenced Faki's productions and used to be released under many different aliases back in the day, they have been waiting since to be made into a proper album under the Len Faki moniker.
After quickly climbing to the top of the international DJ circuit, busy touring schedules never quite allowed for it. Finally faced with the opportunity of a long overdue creative break, Faki decided tackle the life-time venture with the necessary dedication and focus.
Excited about the new project, he also took the time and energy needed to expand his production methods. Finding new techniques allowed him to truly bring all his different influences to the surface. The process was one of following his own heart, occasionally challenging and surprising himself. Naturally the result emerged as two parallel experiences, which are now presented across two discs. Both still carry all the signature features of Faki's style but with added layers of depth and detail. There's that special contrast of dark and heady grooves, paired with dreamy melodies that transport the listener to places beyond the mind. But we also see all strains of his previous work being incorporated, mixed and molded into something new altogether.
While the first disc focuses on the kind of techno, which Faki has been brought up by and given back to for so many years of his life, the second is more loose and experimental, with forays into house, ambient and broken beats - the sounds he has always kept very passionate about.
It creates two distinct experiences, showcasing the entire breadth of Faki's cosmos. Where some ideas stay straight and kick hard, like the neon bleep opener Tor 8 or joyfully booming Astra, others take the newfound freedom to inspire a wistful broken beat ballad such as Hymn (In the Name of Fantasy) or the soulfully subdued Drum & Bass closer Voices.
Many songs even exist as pairings, with their respective counterpart on the other disc. For example, the duo of Shri Yantra/Yantra, where similar soundscapes have been looked through different lenses, making for a more straight-laced or shuffled rhythm. Also noteworthy are Faki's appearance as a veritable house producer on Hymn (In the Name of Freedom) as well as the inclusion of two very personal pieces:
The Halide tracks were made in remembrance of Faki's late mother, who passed away during the final production stage of the EP. These delicate tracks capture the intense sadness Faki was feeling at the time and helped him to process his grief and eventually to finish off the album.
By doing so Faki has given us a complete artistic statement, one that proves him to be as curious and driven now as ever, taking his sound to all-new realms.
Today, Anjimile Chithambo, better known as Anjimile, announces his new album, The King, out September 8th, his first full-length since 2020’s breakthrough Giver Taker. To herald the announcement, he shares lead single, ‘The King’, accompanied by a visualiser by Daniela Yohannes, whose striking painting takes centre stage on the album cover.
Highlighting the artistic shift from Giver Taker to now, ‘The King’ opens with a lofty, melodic choir, an intro that belies the song’s motives. Suddenly, sinister arpeggios interrupt the reverie, and the voices grow darkly serious. Deeply steeped in the confusion, grief, and rage of being Black in America, ‘The King’ pushes back against the tired adage, “what doesn’t kill you makes you stronger,” hissing, “What don ’t kill you almost killed you// What don’t fill you//pains you// drains you.”
“If Giver Taker was an album of prayers, The King is an album of curses.” In his second album, Anjimile continues exploring what it means to be a Black trans person in America. The brutally honest reflection of 2020’s deadly summer is less reminiscent of the pink cloud of early sobriety and more rooted in the reality of seeing brutality with clear eyes. Drawing from influences ranging from religion, Phillip Glass, and lived experiences, the album is a grand step forward for Anjimile. Nearly every sound you hear on The King comes from two instruments: an acoustic guitar and Anjimile’s own voice. Other than a few beautiful contributions from Justine
Bowe, Brad Allen Williams, Sam Gendel, and James Krivchenia (Big Thief), the album is the result of a year in LA working intimately with Grammy and Juno winner Shawn Everett.
Whitney K and band are back with an electric live album that captures the best from their classics ‘Two Years’ and ‘Hard To Be A God’, including a few nuggets from the back catalog and the unreleased tune aptly titled ‘Dire Straits’.
If ‘Two Years’ was the thunder, the rawness and the spirit, a combination of outsider folk, modern psych, grit, humor and everything in between, ‘Hard To Be A God’ was the sophistication, the dedication, the mind traveling far and beyond… ‘Vivi!’ is the hot sauce missing, the perfect setting, the inevitable gift, really putting the word ‘motion’ behind the poetry, the electricity carrying the rollicking combo, the road opening up literally wide and infinite and the wide-eyed dreams becoming a coliseum standing in front of the chaos.
Recorded live in Montreal upon returning from Whitney K’s first European month long tour, ‘Vivi!’ is a vivid, exuberant and jarring photograph of a band that’s lived to see the force of ‘togetherness’, a ritual, a communion of sorts where emotions run free and into the unknown.
Gilberto With Turrentine is an album by Brazilian samba and bossa nova singer Astrud Gilberto and American saxophonist Stanley Turrentine. It features performances recorded in 1971, originally released at CTI Records by Creed Taylor. The album can be described as a blend of jazz, pop, and tropicalia. It was arranged by Eumir Deodato and features appearances by A-list jazz performers including Airto Moreira, Ron Carter, Sam Brown, Hubert Laws, and Toots Thielemans.
Astrud Gilberto gained international fame in the mid-1960s following her recording of the famous bossa nova song "The Girl from Ipanema", while Stanley Turrentine was known for his distinctive work as a jazz musician and his earthy blues style.
Gilberto With Turrentine is available as a limited edition of 1500 individually numbered copies on translucent green coloured vinyl, housed in a gatefold sleeve.
A long-in-the-works project of ours, here comes A Tribe Called Kotori's first foray into full-length territories, as the immensely talented Rampue takes us on a melancholy-riddled ride across his phantasmatic mindscapes. A true sound explorer, deftly steering his ship down the junction of electronica, abstract and balearic-infused prog house, the Berlin-based vibist has us transfixed and elevated throughout the twelve cuts that form the backbone to this lushly textured promenade in sound - at times understatedly euphoric, at others rivetingly exotic.
Of the creative process that lead to 'Bubblebath Trance', Rampue explains "It all started and ended in the same moment: my cherished feline companion, my laptop awash with an unintended bath, and alas, a dearth of backups. The resultant calamity, an echo of chaotic tranquility." Under the generous layer of irony lies some unaltered truth about Rampue's debut long-player for A Tribe Called Kotori: this sense of serenity that goes with stepping into this warm and bubbling primitive chaos of sorts infuses the listening experience far and wide. Distantly emulating the "euphonious strains" of iconic PS1 video games soundtracks from his youth days, the album has us surfing a constant paradox of emotions, wistful but not abandoning itself to sorrow, dynamic yet suspended in some sort of mind-expanding stasis. As if you were looking at the world beneath you in exploded view, conscious of all thing, slowly moving up the many layers of our atmosphere towards uncharted skies.
A paragon of Rampue's most poignant take on classic electronica tropes, 'Harmonie' blazes with a poetic fire that engulfs about everything in its wake. Just figure yourself riding a chocobo across the sand-covered expanse of North Corel (toasting to the FFVII nerds here) as this blasts out in the distance. From this trancey bubblebath emerge lots of musical shades and nuances, from the nicely dubbed-out, brass-heavy coastal jazz of 'Schattenschranz' to the choppy, trip-hop-adjacent future electronics of 'Inside', via the exuberantly joyous mess of faux-organic number 'Tripomatic' and cinematic charisma of 'Ich hasse Sonne' high-flying orchestrations.
Connecting the dots between that trance-indebted ebullience and further downtempo-friendly attraction, 'Verfahren' perhaps encompasses best what 'Bubblebath Trance' is about: gracefully walking the tightrope in-limbo nostalgia-soaked inner movements and a powerful outward thrust, burning to let the feelings ooze out from the shell that holds them.Clad in purely 90s-compatible breaksy motion, 'Salz' is another attempt to reconcile emotional and physical dissonance, like kneading all states - solid, liquid and vaporous - into an impossible mega-vibe of its own; malleable, strong and enveloping in equal measure. Borrowing from two-step and UK garage, 'Take Away' is a definite high in Rampue's master unfolding of musical twists and turns, summoning a Boarder Community-esque atmosphere and clashing it alongside floor-ready footwork motifs to fascinating effect.
An ode to his studio companion, 'Buchla Trip' finds Rampue's exploring his machinic friend's quirky yet soulful array of electronic potentialities - making it sound like a conversation you'd have with R2-D2 in the heart of a Sandcrawler, whereas 'Kajal' beams us up to a fragmented headspace, halfway altered PC-Pop and arps-loaded electronica on amphetamines. Effusive and transporting, the title-track 'Bubblebath Trance' could well figure as the album's no.1 medley in essence: a bountiful lucid dream of dancing forms, colours and sentiments to wrap your head around, confidently drifting from a liminal state of consciousness down the rapids of one's troubled inner workings.
Rounding off the package, the languid ambient finale of 'Die Leiden des hungrigen Fruehstuecks' rubber-stamps the feeling that 'Bubblebath Trance' belongs to that rare category of albums. The ones that mint their own alphabet aside from typical norms and expectations, teaching you the ropes of their new language as it unreels between your ears - real and unreal, elusive to any other meaning than the one your guts and brains will be inclined to give it to, in real time. A crystal-pure object if you will, that shall not reveal its secrets, even after a thousand listens and just as many wowing moments.
Today, Anjimile Chithambo, better known as Anjimile, announces his new album, The King, out September 8th, his first full-length since 2020’s breakthrough Giver Taker. To herald the announcement, he shares lead single, ‘The King’, accompanied by a visualiser by Daniela Yohannes, whose striking painting takes centre stage on the album cover.
Highlighting the artistic shift from Giver Taker to now, ‘The King’ opens with a lofty, melodic choir, an intro that belies the song’s motives. Suddenly, sinister arpeggios interrupt the reverie, and the voices grow darkly serious. Deeply steeped in the confusion, grief, and rage of being Black in America, ‘The King’ pushes back against the tired adage, “what doesn’t kill you makes you stronger,” hissing, “What don ’t kill you almost killed you// What don’t fill you//pains you// drains you.”
“If Giver Taker was an album of prayers, The King is an album of curses.” In his second album, Anjimile continues exploring what it means to be a Black trans person in America. The brutally honest reflection of 2020’s deadly summer is less reminiscent of the pink cloud of early sobriety and more rooted in the reality of seeing brutality with clear eyes. Drawing from influences ranging from religion, Phillip Glass, and lived experiences, the album is a grand step forward for Anjimile. Nearly every sound you hear on The King comes from two instruments: an acoustic guitar and Anjimile’s own voice. Other than a few beautiful contributions from Justine
Bowe, Brad Allen Williams, Sam Gendel, and James Krivchenia (Big Thief), the album is the result of a year in LA working intimately with Grammy and Juno winner Shawn Everett.
Pressing Info: 180g black vinyl double LP, etched D-side, hand-numbered gatefold sleeve, limited to 500, download card included. Porto-based trio 10 000 Russos will release their new 'Live In Berlin' double LP on March 24th 2023 via Rubber Duck, a new live album imprint by Fuzz Club Records. The record captures the band storming through their subterranean motorik psych-drone live at Berlin's Astra Kulturhaus on October 16th 2021. Recorded whilst out on a European tour, 'Live In Berlin' finds 10 000 Russos performing their 2021 'Superinertia' LP in full the album's five songs expanded and taken to even more transfixing and hedonistic heights in a live setting. These shows were 10 000 Russos' first with the new, more-electronic line-up and sound, with newly-recruited synth player Nils Meisel making his debut on the 'Superinertia' LP and completing the line-up alongside founding members Joao Pimenta (drums/vocals) and Pedro Pestana (guitar). Across the hour-long set, Pimenta's deadpan sprechgesang vocal and machine-like percussion, Pestana cascading psych guitar-loops and Meisel's repetitive synth basslines all combine on a performance that will pull you into a trance at times and get you on your feet at others.
Home to legends, not just in Jazz but music itself, Ronnie Scott's in Soho London has been the home to innumerable world class performances but none more so than Peter Green.
A backdrop normally shared for jazz artists was transformed into the raucous good time for Blues fans from all over to witness Peter Green two years into his comeback.
This recording features tracks that range from Fleetwood Mac classics & Blues originals all with Peter Green's inimitable flair. Tracks such as 'Albatross', 'Black Magic Woman', Rattlesnake Shake', 'The Green Manalishi' & 'The Supernatural' as well as versions of Travelling Riverside Blues' & 'Steady Rollin' Man'.
This edition, originally released on 2CD & now available on vinyl, comes as a welcome return for many fans that might have missed out on the first edition of its release. A highly limited 20,000 numbered copies of the 'Soho Sessions' package, which sold out immediate on its release.
Now this new edition on black double LP allows for you to experience the wondrous energy from that night time & time again.
At the end of the 60s and early 70s Brazil was a dream. It was fashionable everywhere in Europe and therefore in France too. One thinks of 'Samba Saravah' from the Un homme et une femme OST, Françoise Hardy and her record produced by Tuca, Isabelle Aubret and her 'Casa Forte' or France Gall with 'Zozoi'. Three Brazilian musicians exiled in France, Edson Lobo (bass), Fernando Martins (piano) and Nelson Serra (drums) form the Trio Camara. They met a group of friends who loved Brazilian music, all professional musicians, but who wanted to remain anonymous, hence the name of the band : Les Masques (The Masks)…
Claude Germain (Les double six), José Bartel, Marie Vassiliu, Pierre Vassiliu … Indeed the singers forming Les Masques are from being unknown. In 1969 they entered Studio Davout with le Trio Camara to record "Brasilian Sound". Composed of 11 tracks, it is a superb album, masterfully produced and recorded, a gripping record to listen in one go and transports us in atmospheres both dreamy and naïve which belong to that period. Produced in 500 copies on CBS, 'Brazilian Sound' was not, unfortunately, a success and it is today impossible to find the original French pressing (which sounds much better than the Canadian pressing released at the same time). This reissue on Le Très Groove Club is welcome, so that 50 years after its release, a larger audience can discover this beautiful record, echo of a once and for all past era.
A.R. Kive collates the three most astonishing works from that most miraculous of duos - A.R. Kane - comprising the ‘Up Home’ EP from 1988 that signified the band’s dawning realisation of their own powers and possibilities, their legendary debut LP ‘sixty nine’ (1988) and its kaleidoscopic, prophetic double-LP follow up ‘i’ (1989).
In founder-member Rudy Tambala’s new remastering, the music on these pivotal transmissions from the birth of dream pop, have been reinvigorated and re-infused with a new power, a new depth and intimacy, a new height and immensity. Vivid, timeless and yet always timely whenever they’re recalled, these records still force any listener to realise that despite the habits of retrospective myth-making and the
safe neutering effects of ‘genre’, thirty years have in no way dimmed how resistant and dissident to critical habits of categorisation A.R. Kane always were. Never quite ‘avant-pop’ or ‘shoegaze’ or ‘post-rock’ or any of those sobriquets designed to file and categorise, A.R. Kive is a reminder that those genres had to be coined, had to be invented precisely to contain the astonishing sound of A.R. Kane, because
previous formulations couldn’t come close to their sui generis sound and suggestiveness. This is music that pointed towards futures which a whole generation of artists and sonic explorers would map out. Now beautifully repackaged, remastered and fleshed out with extensive sleeve notes and accompanying materials, ‘A.R. Kive’ reveals that 35 years on it’s still a struggle to defuse the revolutionary and inspirational possibility of A.R. Kane’s music.
A.R. Kane were formed in 1986 by Rudy Tambala and Alex Ayuli, two second-generation immigrants who grew up together in Stratford, East London. From the off the pair were outsiders in the culturally mixed (cockney/Irish/West Indian/Asian) milieu of the East End, with Alex and Rudy’s folks first generation immigrants from Nigeria and Malawi, respectively. The two of them quickly developed and fostered an innate and near-telepathic mutual understanding forged in musical, literary and artistic exploration. Like a lot of second-generation immigrants, they were ferocious autodidacts in all kinds of areas, especially around music and literature. Diving deep into the music of afro-futurist luminaries such as Sun Ra, Miles Davis, Lee Perry and
Hendrix, as well as devouring the explorations of lysergic noise and feedback from contemporaries like Sonic Youth and Butthole Surfers, they also thoroughly immersed themselves in the alternate literary realities of sci-fi and ancient history (the fascination with the arcane that gave the band their name), all to feed their voracious cultural thirsts and intellectual curiosity.
It was seeing the Cocteau Twins performing on Channel 4 show the Tube that spurred A.R. Kane into being - “They had no drummer. They used tapes and technology and Liz Fraser looked completely otherworldly with those big eyes. And the noise coming out of Robin’s guitar! That was the ‘Fuck! We could do that! We could express ourselves like that!’ moment”, recalls Tambala - and through a mix of
confidence, chutzpah, ad hoc almost-mythical live shows and sheer innocent will the duo debuted with the astonishing ‘When You’re Sad’ single for One Little Indian in 1986. Immediately dubbed a ‘black Jesus & Mary Chain’ by a press unsure of WHERE to put a black band clearly immersed in feedback and noise, what was immediately apparent for listeners was just how much more was going on here - a
tapping of dub’s stealth and guile, a resonant umbilicus back to fusion and jazz, the music less a conjuration of past highs than a re-summoning of lost spirits.
The run of singles and EPs that followed picked up increasingly rapt reviews in the press, but it was the ‘Up Home EP’ released in 1988 on their new home, Rough Trade that really suggested something immense was about to break. Simon Reynolds noted the EP was: Their most concentrated slab of iridescent awesomeness and a true pinnacle of an era that abounded with astounding landmarks of guitar-reinvention, A.R. Kane at their most elixir-like.
If anything, the remastered ‘Up Home’ that forms the first part of ‘A.R. Kive’ is even more dazzling, even more startling than it was when it first emerged, and listening now you again wonder not just about how many bands christened ‘shoegaze’ tried to emulate it, but how all of them fell so far short of its lambent, pellucid wonder. This remains intrinsically experimental music but with none of the frowning orthodoxy those words imply. A.R. Kane, thanks to that second generation auto-didacticism were always supremely aware about the interstices of music and magic, but at the same time gloriously free in the way they explored that connection within their own sound, fascinated always with the creation of ‘perfect mistakes’ and the possibilities inherent in informed play.
‘sixty nine’ the group’s debut LP that emerged in 1988 had
critics and listeners struggling to fit language around A.R. Kane’s sound. As a title it was telling - the year of ‘Bitches Brew’, the year of ‘In A Silent Way’, the erotic möbius between two lovers - and as originally coined by the band themselves, ‘dream pop’ (before it became a free-floating signifier of vague import) was entirely apposite for the music A.R. Kane were making. Crafted in a dark small basement studio in which Tambala recalls the duo had “complete freedom - We wanted to go as far out as we could, and in doing so we discovered the point where it stops being music”. There was an irresistibly dreamy, somnambulant, sensual and almost surreal flow to ‘sixty nine’s sound, but also real darkness/dankness, the ruptures of the primordial and the reverberations of the subconscious, within the grooves of remarkable songs like ‘Dizzy’ and ‘Crazy Blue’. Alex’s plangent vocals floated and surged amidst exquisite peals of refracted feedback but crucially there was BASS here, lugubrious and funky and full of dread, sonic pleasure and sonic disturbance crushed together to make music with a center so deep it felt subcutaneous, music constructed from both the accidental and the deliberate, generous enough to dance with both serendipity and chaos. ‘sixty nine’ remains - especially in this remastered iteration - ravishing, revolutionary.
The final part of this ‘A.R. Kive’ contains 1989’s astonishing double-LP ‘i’ which followed up on ‘sixty nine’s promise and saw the duo fully unleash their experimental pop sensibilities over 26 tracks, plunging the A.R. Kane sound into a dazzlingly kaleidoscopic vision of pop experiment and play. Suffused with new digital technologies and combining searingly sweet and danceable pop with perhaps the duo’s strangest and boundary-pushing compositions, the album did exactly what a great double-set should do - indulge the artists sprawling pursuit of their own imaginations but always with a concision and an ear for those moments where pop both transcends and toys with the listeners expectations. Jason Ankeny has noted that “In retrospect, ‘i’ now seems like a crystal ball prophesying virtually every major musical development of the 1990s; from the shimmering techno of ‘A Love from Outer Space’ to the liquid dub of ‘What’s All This Then?’, from the alien drone-pop of ‘Conundrum’ to the sinister shoegazer miasma of ‘Supervixens’ — it’s all here, an underground road map for countless bands to follow.” Perhaps the most overwhelmingly all-encompassing transmission from A.R. Kane, ‘i’ bookended a three year period in which the duo had made some of the most prophetic and revelatory music of the entire decade.
After ‘i’ the duo’s output became more sporadic with Tambala and Ayuli moving in different directions both geographically and musically, with only 1994’s ‘New Clear Child’ a crystalline re-fraction of future and past echoes of jazz, folk and soul, before the duo went their separate ways. Since then, A.R. Kane’s music has endured, not thanks to the usual sepia’d false memories that seem to maintain interest in so much of the musical past, but because those who hear A.R. Kane music and are changed irrevocably, have to share that universe which A.R. Kane opened up, with anyone else who will listen. Far more than other lauded documents of the late 80s it still sounds astonishingly fresh, astonishingly livid and vivid and necessary and NOW.
On this album, his third work published on Umor Rex, the french producer Alexandre Bazin takes what he started in Four Steps (Umor Rex 2022) to the maximum point. However, on Innervision, there is no longer that discreet flirtation towards the dance floor. Instead, the ten cuts that make up the album are influenced by musical research and the UK and Berlin electronic scene. Bazin's new proposal revolves around sound textures, saturations, feedback, autosampling, and cut and tuned sounds, allowing new melodic elements to emerge in the process, akin to a live act. While maintaining his minimalist exploration and obsession with melody and structure, Innervision undoubtedly marks a turning point in Bazin's discography. It is epic, compelling, euphoric, utterly enjoyable, and at times violently beautiful.
The album was composed and mixed by Alexandre Bazin at Château Rouge, Paris, and mastered by Rafael Anton Irisarri at Black Knoll, New York. François Desmoulins played the acoustic drums on Four Steps (Remix). The artwork for the album was created by Daniel Castrejón in Mexico City.
For her second release on Northern Electronics, Vallmo (appellation of Melina ?kerman Kvie) strengthens her proficiency towards an electronic elevation with each and every track being a crevice offering kaleidoscopic gleams into a poetic narrative extracted from the slightly autotuned yet softly metallic voice.
What Virgil is to Dante, the piano is to the listener: a fragmented leitmotif and a guiding cicerone into the nimbus that is "Othem". Dual in nature, the album comprises seamless transitions between divergent idioms, figuratively as well as literally.
A false dichotomy conveying the opposing pairs tender and bold, distinct but evading and with a direction every so often forward as inward. "Othem" is an opus in equal parts melancholy, magic and mimesis.
The music heard on this album was originally the result of a commission to score the second half of the film Nico/Nico Crying made by Andy Warhol in 1966. The commission was made by Art Cinema OFFoff in collaboration with B.A.A.D.M for a screening of the film together with a live presentation of the score in September 2021 at Ancienne Belgique in Brussels. The recording presented here was made in the last week of that year and mixed soon after in January 2022. These recordings are essentially live-recordings performed by the composers together in the same room and recorded in a manner reminiscent of the record making process as it was in the late 1960s. The instrumentation used to make the sounds on this album consists of modular synthesis, zither, voice, contaminated field recordings and metal percussion.
Mats Erlandsson is a composer and musician part of the vibrantly re-emerging field of drone music in Stockholm, Sweden, and is associated with practices characterized by the extensive use of sustained sound. Erlandsson presents his work both as a solo artist and in collaborations, most notably together with Yair Elazar Glotman and Maria W Horn. Recent releases include Gyttjans Topografi on XKatedral, Minnesmärke on Hallow Ground and the collaboration Emanate made with Yair Elazar Glotman on the label 13070. In addition to his own artistic practice Erlandsson holds a position as studio technician and was temporarily, from October 2022 to September 2023, the acting studio director at Elektronmusikstudion in Stockholm.
The compositions of Maria W Horn implement synthetic sound, electroacoustic and acoustic instruments and audiovisual components, often devicing generative and algorithmic processes to control timbre, tuning and texture. She employs a varied instrumentation ranging from analog synthesizers to choir, string instruments, pipe organ and various chamber music formats. Acoustic instruments are often paired with digital synthesis techniques, in order to extend the instruments timbral capacities. Often based on minimalist structures, her music explores the inherent spectral properties of sound and their ability to transcend time and space, reality and dream.
Here comes Emotional Rescue and Konduko's last in their series of Noel Williams/King Sporty reissues, this time looking at later electro productions and the hip-hop/boogie influenced 'Sun Country'. Vocals and co-production come from Williams' long-time partner Betty Wright and as well as a vocal and instrumental mix there's a longform remix by Bay Area disco dub stalwarts, 40 Thieves.
By this point in his career, the godfather of Miami Bass had travelled a long way from his Jamaican roots in reggae and soul, paying homage to the warm climbs of the Sunshine State and laying down a much copied template using the TR-808 drum machine create the electronic emulations of the breakbeat, claps accenting the backbeat and trademark low frequencies shaking the floorboards. The instrumental stretches the arrangement, emphasising the interplay between electronics, bass, vocal samples, scratching and fx, the voice transformed into a percussive element in its own right. The flip sees 40 Thieves flexing their understated understanding of electro funk, making for a rounded, generation-jumping package.
Mysterious Dutch outfit Doxa Sinistra have been operating on the fringes of the industrial-experimental and sound collage tape scenes since the very early 1980s. Their output has long been coveted by fans of DIY and left-field music since their earliest transmissions, and this featured 1983 recording 'The Other Stranger' might well be one of their most known. A truly strange offering, the track is a cascading acidic and minimal stripped piece, bathed in disparate resonant sample sources that could possibly have been recorded straight from the TV set. Nobody really knows what it all means, but it doesn't matter as the end result is an engaging mesmerising hypnagogic masterpiece of sampling and rhythmic free sound. A true classic from the outer reaches of electronic music.
Midnight Drive label owner Brian Not Brian featured 'The Other Stranger' on his now infamous 'Holywell Session' cassette tape for the sadly missed Blackest Ever Black ever label in 2014, and the track was also a highlight of Boards Of Canada's cult 'Societas X Tape' for NTS in 2019. This special 7" vinyl only edition also features the more stripped back rhythm track version entitled 'Strange' on the b-side that is a slightly longer mix with a different arrangement and no samples, letting the minimalist acid and drum machine workout unfurl at its own steady woozy pace. This is the first time both versions have been remastered and have appeared together as a single and it is presented here with the blessing and involvement of Doxa Sinistra.
Baguette Magique returns with four original tracks produced by Madrid’s own Babu, who shares with us a beautiful and timeless piece of work.
The Ep starts off with “The Chamber”, a perfect intro to the electric energy of the record with a mischievous bass line, laser sounds and trippy chopped-off vocals from video game Halo that welcomes you literally into’s Babu’s universe.
Then comes “Play My Game” which shares the same name of the EP as we consider it to be the center piece of the record. A timeless electro gem, cut for the club and for the after hours.
The beautiful deep bass, malicious synths and ominous robotic voices are genuine and powerful. The Madrid based producer keeps on giving bangers for the club on the flip side with “Radio Transmission”.
The electricity is tangible in this hybrid track between Minimal, Techno and Electro topped off with glitchy fx and looped vocals. We conclude the ride with the lovely retro house track “Alpedrete House”. The deeper and groovier sounds make it the romantic cut from the record to dance and maybe fall in love on the dance floor.
GIL’s second release provides moments of lightness and euphoria,
offering a glimpse of the transcendental experiences that can be found in nature. Anam Cara, which means “soul friend” in Gaelic, sets the tone for the journey that listeners are about to embark on. Each track is a sonic tribute to the power and beauty of friendship, evoking the many moods and emotions that are part of this intricate relationship. The modular sounds add a sense of intricacy and complexity to the record, while the metallic textures add a raw and industrial edge that complements the softer, fluid movements of the aquatic elements. The blend of downtempo and deep techno creates a sonic landscape that is both contemplative and hypnotic, inviting listeners to reflect on the many nuances of friendship. From the ethereal modular sounds of “Henko (Ethereal Reshape)” to the shimmering metallic textures of “Henko (Tapasya Mix)” each track is a unique sonic journey that captures the essence of this powerful relationship. Written, produced and engineered by Gilmer Galibard Vinyl Mastered by Anne Taegert at D&M Artwork by Gilmer Galibard
-one of the absolute German Metal top rarities for the first time as a re-release
-audio transfer by Patrick Engel, remaster by Neudi
-LP with printed Inlay (incl. exclusive interview)
-first official re-release after several illegal CD-pressings in bad quality
In recent years many labels have tried to get the cult album „To The Top“ by the Augsburg band OVERDOSE from 1985 for a re-release - without success. Also at Golden Core the research took over a year (!) until they finally got in contact with the original member „Coco“ who agreed to a re-release.
The group was only active for about three years and neither before nor after the LP there were no further recordings.
Instead of a demo, they invested in a self-pressing. The rest is history and sheer horror for collectors who want an original of this rarity. The varied Heavy Metal, from the fast opener and title song „To The Top“ to the closing gutter hit „Rockfever“ is just not only rare, but also rousing and simply good.
The re-release on Golden Core has to do without bonus tracks this time, but the inlay offers an interview with the original member „Coco“, which finally brings light into the darkness. The audio transfer was done by Patrick Engel from an unplayed (!!) LP, the remastering was done by Neudi afterwards. Of course, a separate master was made for vinyl.
„To The Top“ is a journey back in time to the first half of the eighties and offers a metal aesthetic that no retro band can manage today.
Scannoir & Sneaker, aka “GOTT”, explore, transform and mutate. This unique collaboration embodies the perfect symbiosis of passion. “Die Deutsch-Schweizerische Freundschaft” is still profound and continues to have an effect. Now the two exceptional artists present their latest work: GOTT – MUTATIO on the Zurich based label Mattoni Pazzi.
“Alles wird gut” was the motto of the occupied Wohlgroth-Areal in Zurich in 1993, where Sonic Violence was invited to the concert of their “Transfixion” album tour. Industrial beats, dark samples, guitar riffs and moshing punks dominated the scene. At the ticket booth there were CDs to take away: “Sonic Violence – Transfixion”!
A template that now, 30 years later, adorns this memory with the selected track “Malice” in a new guise. GOTT mutates the original into a dark hell ride.
Enter the realm of the Fields of the Nephilim! The guardian waits, a lifetime. Profound and melancholic, he is transformed by GOTT. Dark souls remain dark souls. Daringly and nevertheless tradition-consciously they march through the black terrain. Interwoven by GOTT, guarded by GOTT. Well – GOTT is the guard! Experience this unique metamorphosis with GOTT – MUTATIO.
For BiD006 we're very pleased to announce that renowned Artist Matt Sewell has agreed to release his fledgling audio project, Sewell & The Gong on the label.
4 guitar led mystical meanderings and deep meditations of cosmic transcendental psychedelic folk.
Matt's acoustic guitar has been a fixture of his studio for many years, although nobody would ever of known as he kept it pretty much to himself.
Over the years he developed a self taught, repetitive, finger picked style in hushed tones to not bother anybody. Just a quiet little part of his studio practise, calming looping melodies.
Like his art, his music is very much inspired by nature, earth magic and cosmic wanderings. His 'A Crushing Glow' compilations are pretty much a defining list of inspirations.
Never heard by anybody outside of the family home that all changed after Matt started working with Newcastle based multi-instrumentalist, fellow pathfinder and astral traveler Chris Tate.
Combining forces Chris helped build a beautiful world for Matt's melodies to wander in, deep and lush and always, always positive.
Fast-rising Dutch producer, Baril, returns to Intercept Records with the emphatic release of his debut album, For You, Forever. Set for release August 25th, the project see’s Baril build upon his chillwave approach to dance music which serves as a warm embrace to listeners. Merging contemporary songwriting with a plethora of electronic influences, the album transcends ambient, breakbeat, and Deep House - the result is one that fits perfectly both on the dancefloor, as well as home listening. The project arrives two years on from his six track EP ‘One More Rush’ which gained the artist worldwide recognition from the likes of Bicep and Fred Again.
Reel People Music are excited to present a limited edition 7” Vinyl release of the Opolopo remixes of Mothers Favorite Child & Saeeda Wright’s “Purple Funk, a tribute to the legendary Prince. Of course it had to be pressed on a stunning translucent purple disc !
Music producer and songwriter Paris Toon, founder of Mothers Favorite Child, has teamed up with the ever so soulful vocalist Saeeda Wright for this updated version of Purple Funk. Saeeda Wright who previously performed and recorded with PRINCE adds delightful new layers of depth and nuance with her stylish vocals whilst the one and only Swedish fire starter Opolopo steps forward in real style to deliver his classic bounce to a remix that is set to shake global dancefloors for many a year to come.
Repress on black vinyl with insert, note new dealer price. “Entry” is the last remaining track from the late 1979 recordings at Pathway Studios that produced the 4AD 12” “Wheel In The Roses” the following year. At 6 minutes' duration too long to sit aside the studio side of that release, the track has been transferred from the original master tapes, cleaned up modestly and is accompanied here with an instrumental version. Tightly-wound, with the typical Rema-Rema elements of Moe Tucker-style pounding (cymbal-free) drums, relentless basslines and Marco Pirroni’s feedback-laden guitar, this song probably hinted more at Rema-Rema’s future path, with its intricate dual vocals, delicate synth motif and a hitherto-muted melodic potential. Paid for by Charisma Records, they deemed the lyrics “blasphemous” and promptly sold the recording back to the band. 12” vinyl with lyric/photo insert
- Panda Bear, Voice of the Seven Woods, Mammane Sanni Abdoulaye. File under: Jazz / Electronic. Titi Bakorta almost didn't make it. Born in and raised in Kinshasa, the Congolese multi-instrumentalist was on his way to Uganda when he fell off the boat as it traversed the mighty Congo River. Unable to swim, Bakorta was saved by a friend who dragged him to the closest city Kisangani, where he was unexpectedly acquainted with local singer Dancer Papalas. Soon they were performing in bands together, traveling across the continents and settling in Tanzania, South Sudan and Dubai - they even appeared in front of General Defao, the beloved Congolese vocalist who fronted legendary soukous bands Grand Zaiko Wawa, Choc Stars and Big Stars. Now based in Kampala, Bakorta offers his own unique take on Congolese pop and folk sounds, weaving traditional elements through a psychedelic lattice of guitar loops, mangled voices and eccentric beatbox rhythms on his debut full-length. He bends woodblock snaps on 'Kop' into stuttered blurs, wailing emotionally over twanging riffs and bizarre, theatrical xylophone twinkles. It's still pop music on some level, but curved around Bakorta's unwieldy personal narrative - there's a sense that everything could unravel at any time but it all hangs together, strengthened by Bakorta's confident, contemporary production smarts. 'Elles Vais' is more airy, with celestial soukous vocals that float above tight, electronic drums. Tangled guitar echoes overlap each other like dense, weaved tapestries, contrasting perfectly with Bakorta's urgent, driving pulse. Occasionally, he transcends completely, like on 'Molende' where his chants and phrases neatly flutter between praise music and contemporary R&B. "Hustling, hustling, hustling, everyday I'm hustling," an angelic voice coos over phased electric guitar plucks and looped, AutoTuned chorals. It makes perfect sense that Bakorta should team up with Metal Preyers' Jesse Hackett on the album's final track, the aptly-titled 'Titis Haunted House'. The two artists share a similar obsession with moonlit, carnivalesque soundscapes, and Hackett's eerie synths provide a suitably eccentric foundation for Bakorta's ghostly wails and fuzzy guitar sounds.
black LP[27,69 €]
King Krule, Interpol, Alex G, Orion Sun, Snail Mail, Toro Y Moi, Unknown Mortal Orchestra. “Transparent Yellow” Indie Store Colour. (LPC1) available while stocks last. For Lutalo, creating music is an act of hope in and of itself. Throughout their meticulously crafted folk, rock, and soul, on which they sing and play all the instruments, the Twin Cities-raised, Vermont-based musician embeds golden lines of poetry that inspire curiosity about the world and empathy for everyone searching for a way through it. After releasing their 2022 debut EP, Once Now, Then Again, Lutalo emerged as a rising talent in the indie world, catching the attention of Fleet Foxes’ Robin Pecknold and Big Thief’s Adrianne Lenker, who invited the young musician on tour. Following a vinyl release with that breakthrough project, they are releasing its companion EP, AGAIN, on August 25 via Winspear. On the ambitious AGAIN, a collection of kinetic indie rock tracks, Lutalo makes bold critiques of systemic oppression, capitalism, and the digital attention economy. Though these topics are heady, their writing always sits at an accessible place of personal introspection. Like on the arresting single “Push Back Baby,” whose fuzzy electric guitar lines twist and unfurl in intricate patterns, Lutalo paints a complex portrait of our current reality that’s “rooted in the greed or narcissism of capitalists,” they explain. “I’m analyzing those systems and patterns, and also asking, ‘Can we continue to not perpetuate this?’ Because it’s hurt a lot of people historically. I’m just asking people to question it.” Through their music, but also through their lifestyle that’s alternative to America’s economic and political systems, Lutalo asks listeners to imagine new possibilities. “I want to help people question the way they’re living,” they say, “so we can create a better reality for us to exist in together.”
yellow LP[27,69 €]
King Krule, Interpol, Alex G, Orion Sun, Snail Mail, Toro Y Moi, Unknown Mortal Orchestra. “Transparent Yellow” Indie Store Colour. (LPC1) available while stocks last. For Lutalo, creating music is an act of hope in and of itself. Throughout their meticulously crafted folk, rock, and soul, on which they sing and play all the instruments, the Twin Cities-raised, Vermont-based musician embeds golden lines of poetry that inspire curiosity about the world and empathy for everyone searching for a way through it. After releasing their 2022 debut EP, Once Now, Then Again, Lutalo emerged as a rising talent in the indie world, catching the attention of Fleet Foxes’ Robin Pecknold and Big Thief’s Adrianne Lenker, who invited the young musician on tour. Following a vinyl release with that breakthrough project, they are releasing its companion EP, AGAIN, on August 25 via Winspear. On the ambitious AGAIN, a collection of kinetic indie rock tracks, Lutalo makes bold critiques of systemic oppression, capitalism, and the digital attention economy. Though these topics are heady, their writing always sits at an accessible place of personal introspection. Like on the arresting single “Push Back Baby,” whose fuzzy electric guitar lines twist and unfurl in intricate patterns, Lutalo paints a complex portrait of our current reality that’s “rooted in the greed or narcissism of capitalists,” they explain. “I’m analyzing those systems and patterns, and also asking, ‘Can we continue to not perpetuate this?’ Because it’s hurt a lot of people historically. I’m just asking people to question it.” Through their music, but also through their lifestyle that’s alternative to America’s economic and political systems, Lutalo asks listeners to imagine new possibilities. “I want to help people question the way they’re living,” they say, “so we can create a better reality for us to exist in together.”
András Cséfalvay makes simple music with a potent atmosphere. A well-known figure in the Slovak underground (artistic, literary and music) scene, he returns after years of silence with a collection of intense songs. It's music which tackles both fantasy concepts and environmental trauma; Cséfalvay, armed only with the voice of a bard and his own hand-made guitar, will kindle your imagination and take you to the most unexpected corners of your mind.
More than a singer, on 'Future Role of the Church in the Forthcoming Enviromental Transformation' Cséfalvay acts like a narrator, wearing his heart on his sleeve. He sings of his hate of percussion instruments, Jupiter and other planets, tells tales of guns and love, nature and Mithrandir. His unique style is completely absorbing, despite the minimal, traditional set-up known from his live performances. Existential, yet light, these twelve songs mark a welcome return of a fascinating artist who presents his own vision of the past, present and future – it's bleak and existential, but also filled with purity and honesty that's impossible to resist.
'Future Role of the Church in the Forthcoming Environmental Transformation' is András Cséfalvay's second album, and his first for the sincere label Weltschmerzen.credits
Netflix Music präsentiert den Soundtrack von Mike Ladd und David Sztanke zur deutschen TV-Serie 'Transatlantic' von Anna Winger ('Unorthodox'). Idee und Drehbuch des siebenteiligen Historiendramas wurden durch Julie Orringers Roman 'The Flight Portfolio' inspiriert, der die Geschichte zweier Amerikaner und ihrer Verbündeten erzählt, die 1940 in Marseille eine Rettungsaktion gründen, um Schriftstellern, Künstlern und anderen Flüchtlingen zu helfen, während des Zweiten Weltkriegs aus Europa zu fliehen. Schwarzes 140g Vinyl mit bedruckter Innen- und hochglanzlackierter Außenhülle.
Wewantsounds Is Pursuing Its Ambitious Akiko Yano Reissue Program With The Release Of "japanese Girl", Her Landmark Debut Album From 1976. Backed By Little Feat With Lowell George And By The Cream Of Japanese Musicians (including Haruomi Hosono), Japanese Girl Is One Of The Most Important Japanese Albums Of The 70s, Mixing Pop, Rock, Japanese Folk Together With Little Feat's Superb Classic Sound. This Is The Very First Time The Album Is Released Internationally. The Deluxe Lp Edition Includes Remastered Sound, Tip-on Lp Sleeve, Download Card Plus The Original 4-page Insert With Lyrics And Full Line-up!
When Akiko Suzuki Left Her Home Town Of Aomori For Tokyo In The Early 70s Aged Just 15 To Become A Professional Musician, She Quickly Started Making Waves On The Local Music Scene Performing At The Jazz Club Rob Roy. In 1973 She Released A 7" With The Group Zariba And Caught The Attention Of A&r Man Koki Miura. She Then Recorded One Song, "oinaru Shiino-ki" With Haruomi Hosono On Bass And Drummer Tatsuo Hayashi (who Features On Many Hosono Albums And Also Hiroshi Sato's 1979 Album Orient) With A Full Album In Mind.
After A Marriage With Musician/producer Makoto Yano And The Birth Of Her Son (named Fuuta), Yano And Her Team Resumed The Recording Of The Album And Decided To Pitch Little Feat For A Collaboration As She Loved The Group. Against All Odds They Said Yes And Yano Left Tokyo For Los Angeles In March 1976 To Record A Full Side With Them. The Legend Has It They Found It So Difficult To Keep Up With Yano's Compositions They Returned Some Of Their Fee. The Session Was Nevertheless Stunning And Lowell George Even Compared Yano To Stevie Wonder. The Little Feat Blend Of New Orleans Groove Matched Yano's Melodies Perfectly, As Witnessed On "funamachi-uta Part 2." Originally A Traditional Song From The Nebuta Festival In Her Hometown Of Aomori (part I On Side 2 Gives A Good Idea Of What The Original Form Sounds Like), The Little Feat Version Is A Formidable Slow-funk Workout Not Dissimilar To Their Classic, "spanish Moon", Serving Yano's Beautiful Vocals And Sense Of Groove To Perfection. The Whole Side Is A Match Made In Heaven, Showcasing The Classic Little Feat Line Up At Their Funkiest With Yano's Unique Japanese Twist.
The Japanese Side On The Album Gives A Great Snapshot Of The Tokyo Music Scene Of The 70s With Many Musicians Gravitating Around Haruomi Hosono (and Present On His 1973 Classic Album 'hosono House' Including Sound Engineer Kinji Yoshino) And Also Several Musicians From Japanese Band, The Moonriders.
Recorded At The Legendary Onkyo Haus Studio In Tokyo, The Sessions Mix Singer-songwriter Sensitivity And Pop With Traditional Japanese Sounds And Instruments Like The Shinobue Transverse Flute, The Koto String Instrument Or The Tsuzumi Hand Drum As Played On "hekoriputaa" By The Legendary Percussionist Kisaku Katada Who Was Appointed Living National Treasure By The Japanese State In 1999; Together They Create A Beautiful East-meets-west Mix Masterfully Driven By Yano's Creativity And Unique Talent.
A Breathtaking Debut Album That Made Akiko Yano One Of The Most Important Artists To Emerge From The 70s, Japanese Girl Has Since Become A Milestone In Japanese Music With A Recent Documentary On Nhk Tv Telling The Whole Story Behind This Classic. Wewantsounds Is Now Proud To Present This Essential Album To The Rest Of The World.
YMO DRUMMER YUKIHIRO TAKAHASHI'S SOPHISTICATED CITY FUNK CLASSIC FROM 1978 CO-PRODUCED BY RYUICHI SAKAMOTO AND FEATURING HARUOMI HOSONO, MINAKO YOSHIDA AND TATSURO YAMASHITA. RELEASED FOR THE FIRST TIME OUTSIDE OF JAPAN - WITH REMASTERED AUDIO, LP COMES WITH OBI AND FOUR PAGE INSERT
Wewantsounds is delighted to announce the release of Yukihiro Takahashi's debut solo album 'Saravah!'. One of the key Japanese albums of the 70s, it was released in 1978 at a key time when, following his tenure with Sadistic Mika Band, Takahashi had just joined the nascent line up of Yellow Magic Orchestra. A sophisticated mix of Disco Funk, synth Pop, Ambient, French Exotica and Bossa Nova, the album has the stylish feel of a night out clubbing in Paris circa 1978. It’s the missing link between the City Pop scene of the late 70s and the synth sound of YMO which was about to revolutionise the world. Newly remastered by renowned engineer Mitsuo Koike, the LP features original artwork with photos by Masayoshi Sukita (David Bowie's Heroes), a 4-page insert and a new Introduction by Benjamin Barouh (Saravah records).
The month before recording the YMO debut album that would help alter the course of music, Yukihiro Takahashi entered the studio with his fellow band-members Ryuichi Sakamoto and Haruomi Hosono to record 'Saravah!' together with the cream of the Japanese scene. He drew his inspiration from globe-trotting French musician Pierre Barouh who had introduced Bossa Nova in France in 1966 with "Samba Saravah" (featured in soundtrack the Oscar Winner A Man And A Woman which he co-wrote) and subsequently launched Saravah Records.
'Saravah' starts off with a couple of French and Italian exotica classics ('Volare' and 'C'est Si Bon') with delicious touches of synth while 'Saravah!' a nod to Pierre Barouh, is a languid Bossa Nova with beautiful soulful strings arranged by Ryuichi Sakamoto. The album gets hotter with 'La Rosa' a superb mid tempo ambient funk featuring Takahashi's beat backed by Haruomi Hosono's bumping bass line, Sakamoto's Hammond Organ and Shigeru Suzuki's fluid guitar.
The first side ends with an amazing exotica-synth version of the standard 'Mood Indigo', announcing the midi revolution that was to come before things get funkier on Side Two starting with Ryuichi Sakamoto's superb up-tempo Disco instrumental ‘Elastic Dummy’ featuring soulful strings and horns with solos by Sakamoto and guitarist Tsunehide Matsuki. The album then moves on to the ambient synth pop of ‘Sunset’ before switching back to Disco Funk with 'Back Street Midnight Queen’ which. like 'Elastic Dummy' has become a dancefloor cult classic over the years.' Saravah! ends on a perfect note with the beautiful 'Present' a perfectly crafted pop song which Takahashi wanted to do in a City Pop mode, featuring a superb melody and high-class arrangements. The perfect soundtrack to an early morning stroll in the Paris streets as illustrated by Masayoshi Sukita's photos featured on the album cover.
A sophisticated album full of glitz and fun, 'Saravah!' gives a unique insight into the versatility the YMO musicians and how funky they could play under Yukihiro Takahashi's influence. This was a key time when the three musicians were just transitioning to a sound that would be dominated by synthesizers and 'Saravah' catch them just at that fascinating moment.
Limited 2023 Repress of MADICNH002 By Tripped pressed on Transparent 12" record with Blue and Orange marbles, Comes in plain black record sleeve. Each copy is unique.
An eclectic EP heavy on the old-school vibes as familiar from the Madback label chief.
Going anywhere from Hard Techno, doomy Hardcore, Acid & Hardcore Techno. Don't miss out!
teely Dan's gold-selling third studio album Pretzel Logic, charted at No. 8 on the Billboard 200 and restored the group's radio presence with the single "Rikki Don't Lose That Number," which became the biggest pop hit of their career and peaked at No. 4 on the Billboard Hot 100. The 1974 album was produced by Gary Katz and was written primarily by Walter Becker (bass) and bandleader Donald Fagen (vocals, keyboards). The album marked the beginning of Becker and Fagen's roles as Steely Dan's principal members.
They enlisted prominent Los Angeles-based studio musicians to record Pretzel Logic, but used them only for occasional overdubs, except for drums, where founding drummer Jim Hodder was reduced to a backing singer, replaced by Jim Gordon and Jeff Porcaro on the drum kit for all of the songs on the album. Steely Dan's Jeff "Skunk" Baxter played pedal steel guitar and hand drums.
Pretzel Logic has shorter songs and fewer instrumental jams than the group's 1973 album Countdown to Ecstasy. Steely Dan considered it the band's attempt at complete musical statements within the three-minute pop-song format. The album's music is characterized by harmonies, counter-melodies, and bop phrasing. It also relies often on straightforward pop influences. The syncopated piano line that opens "Rikki Don't Lose That Number" develops into a pop melody, and the title track transitions from a blues song to a jazzy chorus.
Other standout tracks include "Any Major Dude Will Tell You," a reflective ballad with lush harmonies, and "Parker's Band," a playful ode to the jazz great Charlie Parker.
Lyrically, the album explores themes of nostalgia, lost love, and the struggles of the creative process. In "Barrytown," the band reflects on their early days as struggling musicians, while in "Through with Buzz," they offer a biting critique of the music industry and the pressure to conform to commercial expectations.
One of the defining characteristics of Pretzel Logic is its use of unusual chord progressions and unexpected musical twists and turns. The band's intricate arrangements and skilled musicianship are on full display throughout the album.
Rolling Stone praised the album, calling Steely Dan the "most improbable hit-singles band to emerge in ages."
"When the band doesn't undulate to samba rhythms (as it did on 'Do It Again,' its first Top Ten single), it pushes itself to a full gallop (as it did on 'Reelin' in the Years,' its second). These two rhythmic preferences persist and sometimes intermingle, as on 'Rikki Don't Lose That Number,' which jumps in mid-chorus from 'Hernando's Hideaway' into 'Honky Tonk Women.' Great transition." — the review said.
AllMusic gave the album 5 stars, with reviewer Stephen Thomas Erlewine noting that "instead of relying on easy hooks, Walter Becker and Donald Fagen assembled their most complex and cynical set of songs to date." Dense with harmonics, countermelodies, and bop phrasing, Pretzel Logic is vibrant with unpredictable musical juxtapositions and snide, but very funny, wordplay.
The album's cover photo featuring a New York pretzel vendor was taken by Raeanne Rubenstein, a photographer of musicians and Hollywood celebrities. She shot the photo on the west side of Fifth Avenue and 79th Street, just above the 79th Street Transverse (the road through Central Park), at the park entrance called "Miners' Gate."
After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.
This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.
Overall, Pretzel Logic is a standout album in Steely Dan's discography. The album's blend of catchy hooks, complex arrangements, and thoughtful lyrics has made it a favorite among fans of classic rock and pop music.
Made when mono was still king, Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.
Mastered from the original master tapes, pressed at RTI, and limited to 3,000 copies, Mobile Fidelity's restored 180g mono 45RPM 2LP version brings the contents of this seminal release as closest as they've ever come to master tape-quality in the original mono configuration. Transparent to the source, the simple sounds of Dylan's voice, acoustic guitar, and harmonica take on lifelike perspective and directness – the "husk and bark" to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde's Folk City. MoFi has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background chatter. Wider grooves mean more information reaches your ears.
As the preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. Since the separation of the stereo versions isn't as sharp, the mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. This is how almost everyone first heard this timeless album – making the mono mix all the more historically valuable and truthful.
Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan's name or music is to miss the forest for the trees. Distinguished from the era's other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.
By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.
As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin." It all starts here.
Track List
Whispers is the first proper P.G. Six album since 2011"s Starry Mind. Time passes slowly, as they"ve been known to say out in the country, and before you know it, there"s a bunch of it behind you. After five releases in the first decade of P.G. Six, it may seem a bit of a surprise to have not heard something new in the past twelve years - but a cursory listen to Murmurs & Whispers will answer why, as the deep acoustic focus of the tracks imply an investment of the type of compassion and understanding that takes time and concentrated effort to conjure. Additionally, Pat Gubler"s always got a few pots going at once in his ever-expanding musical universe. He"s been active since the mid-90s, first with Memphis Luxure and Tower Recordings, then as P.G. Six, and as a member of Metal Mountains, Wet Tuna, Garcia Peoples and Weeping Bong Band. Additionally, some time was spent making collaborative records with Dan Melchior (in 2019) and Louise Bock (in 2021). Pat"s been playing the harp for more years than he"s been in bands, but when he realized that he was writing a set of songs centered around harp compositions, he spent some time in the woodshed with his instrument, a late 80s model Triplett Celtic 34 String Harp (which replaced a lovely Paraguayan harp he"d played for years previously). After the previous P.G. albums of electric band arrangements, he was in a place of writing songs with more silence in them. He ended up playing a lot of the parts himself on Murmurs & Whispers, adding guitar, bass, keyboards, recorder and hurdy gurdy, in addition to his harp and vocals. Clark Griffin and Wednesday Knudson, who Pat plays with in Weeping Bong Band, played and sang a bit themselves, and the record was recorded piece by piece in houses around upstate New York by Mike Fellows. Returning to the quiet acoustic sound of the first couple of P.G. Six albums, Parlor Tricks and Porch Favorites (which has seen a much-needed reissue in the past year after too many years OOP) and The Well of Memory, Murmurs & Whispers is more straightforward in expressing its vision of rural celestial wonder. Bucolic and comfortably lived in, Murmurs & Whispers nonetheless projects the transcendent heart of P.G. Six once again, and as ever, it is magnificent to hear it passing through us.
65daysofstatic feiern 2023 das 10-jährige Bestehen von "Wild Light" mit einer längst überfälligen Vinyl-Wiederveröffentlichung des beliebten Albums auf 180g transparent-magenta-farbenem Vinyl. Das ursprünglich 2013 erschienene sechste Studioalbum der Band wurde von The Quietus als "an exploration and expression of sonic freedom" bezeichnet und hat sich seitdem zu einem Favoriten unter den Fans entwickelt. Im September 2023 geht die Band auf eine UK- und Europa-Tournee, auf der sie das Album in voller Länge sowie weitere Titel ihrer Karriere vorstellen wird.
Es ist 5 Jahre her, aber das Warten hat sich gelohnt! "Memento Mori", das Nachfolgealbum von "Viktoria" ist MARDUK pur, von Anfang bis Ende! Zehn Tracks unerbittlicher, kompromissloser, düsterer und harter schwedischer Black Metal! "Memento Mori" ist erhältlich als Deluxe Gatefold LP (mit alternativem Cover-Artwork, transparent-schwarzem extra dickem Splatter-Vinyl, 8-seitigem Booklet in DIN A4 Format, DIN A2 Poster, Kunstdruck - limitiert auf 2000 Einheiten weltweit und nicht in jedem Land erhältlich), sowie als reguläre Gatefold LP (180g Vinyl, Lyric Sheet), Ltd. CD Mediabook und digitales Album.
Es ist 5 Jahre her, aber das Warten hat sich gelohnt! "Memento Mori", das Nachfolgealbum von "Viktoria" ist MARDUK pur, von Anfang bis Ende! Zehn Tracks unerbittlicher, kompromissloser, düsterer und harter schwedischer Black Metal! "Memento Mori" ist erhältlich als Deluxe Gatefold LP (mit alternativem Cover-Artwork, transparent-schwarzem extra dickem Splatter-Vinyl, 8-seitigem Booklet in DIN A4 Format, DIN A2 Poster, Kunstdruck - limitiert auf 2000 Einheiten weltweit und nicht in jedem Land erhältlich), sowie als reguläre Gatefold LP (180g Vinyl, Lyric Sheet), Ltd. CD Mediabook und digitales Album.
Whispers is the first proper P.G. Six album since 2011"s Starry Mind. Time passes slowly, as they"ve been known to say out in the country, and before you know it, there"s a bunch of it behind you. After five releases in the first decade of P.G. Six, it may seem a bit of a surprise to have not heard something new in the past twelve years - but a cursory listen to Murmurs & Whispers will answer why, as the deep acoustic focus of the tracks imply an investment of the type of compassion and understanding that takes time and concentrated effort to conjure. Additionally, Pat Gubler"s always got a few pots going at once in his ever-expanding musical universe. He"s been active since the mid-90s, first with Memphis Luxure and Tower Recordings, then as P.G. Six, and as a member of Metal Mountains, Wet Tuna, Garcia Peoples and Weeping Bong Band. Additionally, some time was spent making collaborative records with Dan Melchior (in 2019) and Louise Bock (in 2021). Pat"s been playing the harp for more years than he"s been in bands, but when he realized that he was writing a set of songs centered around harp compositions, he spent some time in the woodshed with his instrument, a late 80s model Triplett Celtic 34 String Harp (which replaced a lovely Paraguayan harp he"d played for years previously). After the previous P.G. albums of electric band arrangements, he was in a place of writing songs with more silence in them. He ended up playing a lot of the parts himself on Murmurs & Whispers, adding guitar, bass, keyboards, recorder and hurdy gurdy, in addition to his harp and vocals. Clark Griffin and Wednesday Knudson, who Pat plays with in Weeping Bong Band, played and sang a bit themselves, and the record was recorded piece by piece in houses around upstate New York by Mike Fellows. Returning to the quiet acoustic sound of the first couple of P.G. Six albums, Parlor Tricks and Porch Favorites (which has seen a much-needed reissue in the past year after too many years OOP) and The Well of Memory, Murmurs & Whispers is more straightforward in expressing its vision of rural celestial wonder. Bucolic and comfortably lived in, Murmurs & Whispers nonetheless projects the transcendent heart of P.G. Six once again, and as ever, it is magnificent to hear it passing through us.
Enter the realm of Illa J, the musical force shaking the foundations of the industry. His latest offering, 'No Traffic', is a testament to his boundless talent and versatility, showcasing his singing, production and rapping abilities on 19 tracks written and produced entirely by Illa J himself. This album marks his debut on BBE Music and a new chapter in his musical journey. Meet Illa J: a musical prodigy raised in a family of talented musicians. With a jazz bassist father and a gifted singer mother, it's no surprise that Illa J was destined for greatness. He's best known as the younger brother of hip-hop legend J Dilla and has made a name for himself as a former member of Detroit's iconic hip-hop group, Slum Village. With a lifetime of exposure to quality music and top-tier musicians, Illa J is a force to be reckoned with. Created amidst the chaos of the pandemic, Illa J's 'No Traffic' serves as a beacon of hope, a roadmap for creatives seeking their path. He enlists the help of Detroit legends Amp Fiddler, Frank n Dank, British soul sensation Harleighblu, and introduces the rising stars of Detroit, Serious, Joz B, Maine Soul, and more, all matching Illa J's energy and passion on the tracks. The focus track of the album, "Star Struck", is a prime example of Illa J's signature style. The astral pentatonic soundscape and precise drum programming transport you to new heights, while Illa J's beats, melodies, and bars will leave you in awe. 'No Traffic' is a musical journey that takes you to a place where Illa J's playful and versatile sound reigns supreme. The album is expertly mastered by Grammy-award nominated The Carvery Studio and is a refreshing experience of a true artist reveling in their artistry. Don't miss out on this once-in-a-lifetime opportunity to delve into Illa J's musical realm."
During the latter half of the seventies very few came close to emulating the success of the productions of Joe Gibbs and Errol Thompson. 'The Mighty Two' took the greatest of Kingston's musical and technical innovations and transformed the cutting edge into a commercial proposition that crossed over to the rest of the world. 'Under Heavy Manners'' was an essential purchase as well as a defining statement on the sombre mood of the times in the year that two sevens clash and forty years after its original release, the raw reality of 'Under Heavy Manners' continues to hit home.
Remastered for its 10th Anniversary, the newly cut vinyl edition of Ripely Pine features the bonus track “Up In The Rafters,” long a live favorite that really should have been on the album in the first place. More than anything, Aly Spaltro has 20,000 second-hand DVDs to thank for her first album. Despite being recorded at a proper studio in her recently adopted home of Brooklyn, Ripely Pine showcases songs conceived during her tenure at Bart’s & Greg’s DVD Explosion in Brunswick, Maine. Little did customers know, the same store they’d drop off their Transformers movies was providing the ideal four-year cocoon for the development of a major musical talent. Spaltro worked the 3:00 PM to 11:00 PM shift. Each night, after locking up, she’d walk past Drama and Horror, pull out her music gear from behind a wall of movies, and write and record songs until morning broke. She did this every day, drawing strength from the monotony of her routine and testing out multiple techniques, approaches and instrumentation. Anger, confusion, love, happiness and sadness reigned, and the songs ran rampant, with little form or structure. Isolated for those many hours, Spaltro let melodies morph together, break apart and pair up. This is how she taught herself to write music and sing. Taking the name Lady Lamb the Beekeeper, Spaltro became one of the most beloved musicians in Portland. Her live shows were unhinged, as melodies followed an internal logic only apparent to Spaltro herself. She sang and played guitar, and the songs offered a vivid yet brief snapshot of her expansive world. At 23, with years of writing and performing music already under her belt, she ventured to the next milestone—recording an album. This would be the first time she did so in a professional studio and the first time she shared the process with anyone else. Luckily, she met Nadim Issa at Let ’Em Music in Brooklyn. He was taken enough by her abilities to dedicate nine full months toward the recording of Ripely Pine, and she with his producing abilities to ease comfortably into making him a part of her recording process. She wrote everything—all the songs, all the arrangements. And the two of them assembled an album that finally fit what existed in Spaltro’s mind. Keeping the songs’ stark rawness, the record is a pure representation of her sound. Ripely Pine shouts the introduction of a new talent from every groove. These recordings come as close as possible to conveying the intense majesty of her live shows, and, much like those performances, a narrative breathes through the record’s progression. The album opens with urgency and anger, settles into reconciliation and reciprocation, and ultimately reaches toward resolution, realizing infatuation leads to a loss of self; instead, embracing one’s own strengths is the most powerful thing of all.
Unlike the spiraling momentum of the band's sophomore LP, pleasure suck, the spirit of the beehive takes a more grounded approach here, though the ground it's standing on is equally otherworldly. Dreamy is a fitting adjective, but the ten tracks on Hypnic Jerks never fully slip into the peaceful character of dream-pop. Hypnic Jerks has the quality of an indescribable dream fading from memory as you slowly begin to regain consciousness. Its warped guitar tones, transcendental synths and smattering of eerie audio samples conjure this purgatorial space between reverie and reality. It's an arena where the songs unexpectedly contort themselves and take on different textures, morphing in and out of one another. Once the celestial harmonies, balmy keys and creeping false climax of album closer it's gonna find you roll past, it's clear that the spirit of the beehive has secured a seat at this decade's table of musical visionaries.
Repress!
OUTTA SIGHT, in association with Sony Music Entertainment UK Ltd., present two Modern Soul Monsters back-to-back.
JEFF PERRY (aka Jeffree) was born into rare soul royalty, the nephew of Robert Bateman, a pioneer of the Detroit sound, and brother of Greg Perry with whom he would co-write and produce for Holland/Dozier/Holland scoring hits for the Honey Cone, Chairman of the Board, Freda Payne and Jeff’s own group 100 Proof Aged In Soul.
“”Love Don’t Come No Stronger…” has transcended its Modern Soul status to become a mainstay of the 21st Century Northern Soul Weekender scene, an essential 45 for any discerning DJ wanting a guaranteed floor-filler.
MANDRILL were formed in New York in the late Sixties by the Wilson brothers, originally from Panama. They were joined over the years by a succession of accomplished musicians who honed their unique Latin-tinged sound that attracted, first Polydor, then United Artists and Arista, who signed them in 1977. “Too Late” was released in ’78 and helped define the “crossover” sound of the Northern Soul scene. It remains an anthemic and sought after 45 guaranteed to pack the floor.
Following a greatest hits compilation in the late 90s the Human League signed to the Papillon label. The line-up
of Philip Oakey, Susan Sulley and Joanne Catherall recorded the “Secrets” album, with keyboard player Neil
Sutton, who co-wrote most of the songs with Oakey, and programmer David Beevers providing the trademark
Human League sound.
• The album’s release in 2001 was preceded by the single “All I Ever Wanted”, but both the single and album lost
promotion and sales when Papillon ran into financial difficulties and was closed shortly after the album’s release.
• This 2LP new edition has been expertly mastered by Cicely Balston at AIR Mastering from the original stereo
tapes using precision half-speed mastering. Half-speed mastering is a vinyl cutting technique that improves
groove accuracy and transient information creating an incredibly detailed stereo image with a natural high
frequency response.
• Presented in its original sleeve, pressed on 2 x 180 gram heavyweight black vinyl, featuring an obi strip and
housed in a poly-lined inner sleeve, with all the lyrics and credits on the 4 page insert.
a 01. All I Ever Wanted Dave Bascombe Mix 3:31
[c] 03. Love Me Madly? [Dave Bascombe Mix] 4:08
A pop record for tired times. Sugared with bits of shatterproof glass to put more crack in your strap. At long last, verse / chorus. A weathered thesaurus. This is OSEES bookend sound. Early grade garage pop meets protosynth punk suicide-repellant. Have a whack at the grass or listen while flat on your ass. Heaps of electronic whirling accelerants to gum up your cheapskate broadband. Social media toilet scrapers unite! Allow your 24-hour news cycle eyes to squint at this smiling abattoir doorman. You can find your place here at long last. All are welcome from the get go to the finale…a distant crackling transmission of 80s synth last-dance-of-the-night tune for your lost loves. Suffering from Politic amnesia? Bored of AI-generated pop slop? Then this one is for you, our friends. Wasteland wanderer, stick around. Love y’all. For fans of Teutonic synth punk and Thee Oh Sees (who the fuck are they?)” — John Dwyer
